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Allison Macleod

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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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

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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

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

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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

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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

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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

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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

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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

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“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