main festival space throughout the four-day festival, to the inclusion of discussion panels and workshops alongside screenings, SQIFF emphasizes the performance of queer film culture as a communal and collective experience. As a space for
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Allison Macleod
Eliza Deac
, but also its performance: “Biological parcels moved across and up and down as if they were endless lists without copulas. We will passical the classical. You organize writing spaces by grouping them together on the screen, and by placing writing
Queer Sinofuturism
The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man
Gabriel Remy-Handfield
their country, they are redefining through films, installations, live-action performances, and animations what it means to be human in our times and what role technologies and sciences are playing in these mutations. Lu Yang is one of the most celebrated
Andrew J. Webber
otherwise by her performances in casting. However, the look of the lead character helps to attach to the film the uncomfortable label of “beautiful,” as in the critical endorsement on the cover of the DVD: “A beautiful survival story, set against the dying
Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée
” (93). She highlights the importance of performance and parody, which helps break down categories of male/female, masculine/feminine, gay/straight, and penetrative/receptive in the above-mentioned play. This process of categorical slippage is arguably
Editorial
Situating Screen Bodies
Brian Bergen-Aurand
thought about gender and ‘otherness’ through its very form and content.” In the end, these performances open the productive potential at the intersection of “these two paradigms of film theory in tandem” to point toward what one might describe as a
Close to You
Karen Carpenter and the Body-Martyr in Queer Memory
Julian Binder
, especially when it came to their live performances, which were critically panned in the 1970s in part due to Richard's insistence that the live songs perfectly mirrored the studio takes ( Lott 2009 ). The idea that Karen's ultimately unsuccessful attempt to
Monstrous Masses
The Human Body as Raw Material
John Marmysz
while it may be the case that the actual human beings who portray characters in film are beings-for-themselves—after all, they are always more than just the characters that they play—it does seem that once performances are completed and recorded in a
“There’s nothing makeup cannot do”
Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup
Michele White
are based on drag queens’ performances of femininity. Nikkie’s (2015c) power of makeup tutorial is a demonstration of “full on glam” and highly crafted femininity that is intermeshed with another face. This promotion of mutable physiognomy is not