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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

umbrella term encompasses “all identities and practices that cross over, cut across, move between, or otherwise queer socially constructed sex/gender boundaries” ( 1994: 251 ). While some use “travesti” and “trans” interchangeably, various travesti

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Brian Bergen-Aurand

perfection of its own . Perhaps such a more complex “cognition of the senses” with regard to the study of screen bodies begins to arise from the evolution of feminist, LGBT, and queer theory in the 1980s. Perhaps, we can trace the percolation of those

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

-representations of women, femininity, and queerness because the producers convey different notions of self and physiognomy. These women’s online video self-representations and scholarly research in this area are important because, as Lindsey Wotanis and Laurie

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Akkadia Ford

substantive texts dealing with gay, lesbian, bisexual, transgender, intersex, queer themes and, in particular, a rarity in the mainstream of texts with transgender characters and narratives. In the three years since the film debuted, there have been mainstream

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

’s thirteen essays are well grounded in media theory and history as well as intersectional feminism. Kyra Hunting’s “All in the (Prison) Family: Genre Mixing and Queer Representation” takes a comparative approach in locating the generic roots of OITNB in a

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

; embodied spectatorship; aesthetics of “touch” (hapticity); gender and queer theories; and intersectional approaches. Whatever one's particular theoretical or practical commitments, however, it is worth noting that “applying” theory is not the same as