workers saw their incomes disappear overnight when the COVID-19 pandemic began to spread in Canada. Now many are in desperate situations in need of food, rent, basic necessities. Some are now homeless and without any income” ( Wright 2020 ). The Guardian
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Introduction
Bodies, Sexualities, and Masculinities in the Time of Coronavirus
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Sep 2020
- Article Type:
- Introduction
- Pages:
- 1–9
Minority Report
Perceptions and Realities of Black Men in Heterosexual Porn
Darryl L. Jones II
were fired from jobs in such fields and industries as secondary education, corrections, and fast food when their adult media presences were discovered. I, myself, recall a coworker who lost his job when it was discovered in 2011 that he had performed in
In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Mar 2020
- Article Type:
- Research Article
- Pages:
- 60–79
Lowry Martin
traditionally gendered chores such as preparing food, washing clothes, and taking bread to the baker. It is only as he grows that his nonstereotypical behavior, such as crying easily, becomes a source of ridicule for nonconformity with expectations regarding
In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Mar 2020
- Article Type:
- Research Article
- Pages:
- 80–103
Josh Morrison, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple
Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)
Brian Bergen-Aurand
Screen Bodies 3.2 engages with a wide variety of topics—fat studies, contemporary queer cinema, (pre)posterity, puzzle films, grief and truth in filmmaking, feminist materialism, digitized bodies, food and horror, and Maghrebi cinema. As well, the selection of articles in this issue represents studies of several media—tv programs, films, publicity stills, and photographs—from a number of locations around the globe—North America, Europe, Africa, and Asia. What holds this general issue together, though, is a concern over expectation, assumption, and supposition: what we suppose screens and bodies do and what we suppose they do not do. As usual, with this journal, the focus of this consideration is doublehanded: screen as projection and screen as prohibition. The articles below explore the duality of screens and our responses to them. They engage screening expectation as showing, exposing, divulging, and, at the same time, as testing, partitioning, and withholding. To screen expectation is to reveal and conceal it, and, as these articles argue—each in their own way—this process is what we all engage in when we engage with screening.
Kuang-Yi Ku
, scientists and commercial companies have been collaborating to synthesize cultured meat with an eye toward ameliorating the worldwide food shortage crisis. So it seems feasible to use these same technologies to produce “artificial tiger penis.” But the idea
Introduction
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
to LGBT-friendly education (including the right to legalized gay marriage, a model that extends, rather than revolutionizes, existing marriage structures), while, on the other, he was being threatened by (perceived) exposure to irradiated food from
Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée
the diamonds around Francie’s (Grace Kelly) slender neck in To Catch a Thief (1955) . The trope of gluttony or conspicuous consumption is manifested through objects as well, specifically food. In The Farmer’s Wife (1928) , a table is overcrowded
Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle
appetite. Indeed, “his self-styled identity as food connoisseur , fatso, and film director were inimitably intertwined” (6). Olsson considers such corporeal marketing of the franchise within the historical and cultural context of pre-and post-war America
Monstrous Masses
The Human Body as Raw Material
John Marmysz
physical state of affairs are explored. The creation crawls across the floor like a gigantic insect. With the connection of the victims’ various gastrointestinal tracts, food eaten by the first person in the chain passes as feces into the mouth of the
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