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Allison Macleod

socialization, entertainment, education, and activism, SQIFF recalls the grassroots origins of queer film festivals that were first established in the late 1970s and 1980s as oppositional “safe havens” where queer communities could be formed and where queer

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Sol Neely

attending such abjection. Next, I consider the film in light of what has come to be called “abject criticism” ( Tyler 2009 ), which emerged in the 1980s, stirred by Julia Kristeva’s ubiquitous Powers of Horror: An Essay on Abjection (1982) and Barbara

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

City's Latinx and African-American LGBTIQ 1980s ballroom scene, coproduced by, among others, Janet Mock and Our Lady J, consists of a cast of mainly trans and non-binary actors, including MJ Rodriguez, Indya Moore, Dominique Jackson, and Angelica Ross

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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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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

paramount importance. In this vein, audiences familiar with queer Western film will likely recall that during the 1980s, and arguably well into the 1990s, on-screen representations of homosexuality and same-sex relations were too often linked to

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

terrible country, indeed. “Our terrible country” is Syria, of course, but it could as well be Lebanon in the 1980s, or Yemen or Ukraine today, or any other land riven by revolution cum civil war cum proxy war. 3 Indeed, Atassi’s Syria is a terrible

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

on queer of color media production and artistic movements from the 1970s, 1980s, and 1990s, younger voices are creating innovative web series, visibility projects, and funding initiatives that reimagine mainstream narratives about their identities