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Working with the Cold War

Types of Knowledge in Swedish and Australian History Textbook Activities

Niklas Ammert and Heather Sharp

the 1980s,” Social and Education History 2 (2013): 176–204. 21 Ruth Wodak, “The Discourse-Historical Approach,” in Methods of Critical Discourse Analysis , ed. Ruth Wodak and Michael Meyer (London: Sage, 2001), 63–94. 22 See Rob Gilbert and Brian

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Enis Sulstarova

almost all of the history textbooks used in the Albanian pre-university public education system from 1990 to 2013, including those published in the late 1980s and early 1990s, which offer researchers the opportunity to compare the representation of Islam

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

Gunning’s “cinema of attractions,” a mode of filmmaking that, according to Gunning, was prevalent in the first decade of motion pictures. Since Gunning’s conception, developed in the 1980s, contrasts the cinema of attractions with the cinema of narrative

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

follows I offer a close look at a corpus of DVD-to-celluloid works dating from the late 1980s through the early 2000s. I look closely at three 16 mm films, The Secret Garden (1989), The Snowman (1995), and Walking Distance (1999). All three films may

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"The Theatricality of the Emulsion!"

Queerness, Tactility, and Abstraction in the Hand-Processed Films of Roger Jacoby

Benjamin Ogrodnik

This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

Abstract

In Argentina, trans people have experienced extreme marginalization exacerbated by authoritarian dictatorships. Despite this history, since the return of democracy in the 1980s Argentina has witnessed legislative changes as an outcome of extensive trans activism. Travestis became more visible as they protested police brutality. Travesti mobilization brought more visibility, specifically within the media industries. To elucidate their participation in media, this article focuses on travesti celebrity Florencia de la V in Los Roldán (2004–, Telefe). I examine the representation of travestis on telenovelas and how fictional characters have an effect on structuring a star's career through the telenovelas’ ability to blur the distinctions between character and star. Ultimately, this article questions the introduction of mainstream audiences to gender-nonconforming characters through the industry's incorporation of travesti stars in relation to themes of scandal and domesticity. I build on the work of trans scholars Blas Radi and Lohana Berkins, who theorize travesti identities as politicized non-binary bodies.

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Akkadia Ford

“real” story of Ron Woodroof, who is portrayed as a heterosexual rodeo cowboy credited with establishing an HIV medications Buyers Club in Dallas in the mid-1980s after doctors gave him the bleak prognosis of having “about thirty days to live” ( Borten

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Close to You

Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder

years after Karen's death, “Karen Carpenter, the iconography that she represented, became interchangeable with the public's understanding of eating disorders in the late 1970s and early 1980s.” In their view, Karen Carpenter became “‘that pop star who

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

—topics in the realm of sexuality in China. For example, in Chapter 2 Jacobs revisits the ghost-scholar romance movies of the 1980s and 1990s in Hong Kong, and argues that the feminist fulfillment of women’s sexual sensations, as well as women’s artistic and

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

and 1980s. Over the past ten years or so, companies such as Distribpix, Vinegar Syndrome, Tabu, and Wild Side have lovingly restored and released classics of the golden age of porn much to the glee of porn connoisseurs worldwide. This pocket of