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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

effects as part of a work’s larger performative, narrative, or thematic framework. This was because Eisenstein’s early definition of cinema was that it was impactful montage construction with authoritarian implications and his goal was to influence the

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

Abstract

In Argentina, trans people have experienced extreme marginalization exacerbated by authoritarian dictatorships. Despite this history, since the return of democracy in the 1980s Argentina has witnessed legislative changes as an outcome of extensive trans activism. Travestis became more visible as they protested police brutality. Travesti mobilization brought more visibility, specifically within the media industries. To elucidate their participation in media, this article focuses on travesti celebrity Florencia de la V in Los Roldán (2004–, Telefe). I examine the representation of travestis on telenovelas and how fictional characters have an effect on structuring a star's career through the telenovelas’ ability to blur the distinctions between character and star. Ultimately, this article questions the introduction of mainstream audiences to gender-nonconforming characters through the industry's incorporation of travesti stars in relation to themes of scandal and domesticity. I build on the work of trans scholars Blas Radi and Lohana Berkins, who theorize travesti identities as politicized non-binary bodies.

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“Banal Apocalypse”

An Interview with Author Ta-wei Chi on the New Translation of The Membranes

Jane Chi Hyun Park and Ta-wei Chi

nationalistic. In fact, many older readers in Taiwan also know the fact that the Momotarosan story is obviously authoritarian rather than naïvely childish. However, it has been common among many readers in Taiwan to overlook the political/imperial implications

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

. Bogost’s provocation that Steve Jobs was a “fascist” in chapter 7 is barely fleshed out, based on Jobs’ known authoritarian attitudes and a connection between fascism and modernist design. It would be more interesting to explore why Apple users, who

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Murray Smith

-Fascist authoritarianism ( The Fountainhead [King Vidor, 1949], Robocop [Paul Verhoeven, 1987], 300 [Zack Snyder, 2006]). The Hollywood system is nothing if not opportunistic: if a given story can be shaped to deliver the kinds of aesthetic pleasures Berliner analyzes

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Carl Plantinga

he threatens to unleash have connections with fascism—authoritarian, xenophobic nationalism and a seeming contempt for liberal democracy. The threat of fascist resurgence is real. To think that the mass narratives that populate Western culture could