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
Search Results
Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub
The New Imitation Game
The Queer Sinitic Potentialities of Internet Romance Games
Carlos Rojas
and most influential categories of romance games is the bishōjo 美少女 (“pretty girl”) genre that emerged in Japan in the early 1980s, which typically featured a male protagonist pursuing and seducing a va riety of attractive young women. In the mid
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
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
Queer Sinofuturism
The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man
Gabriel Remy-Handfield
boundaries of the media they use in their practice. 2 I am referring here to artists who were born in the 1980s and the 1990s. They possess distinctive interests and tastes, and their aesthetics are different from the aesthetics of previous generations born
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
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
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
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
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