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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

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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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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

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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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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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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

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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