devastating periods in twentieth-century gay and transsexual history, and Dallas Buyers Club serves as a powerful reminder of the historical and social backgrounds against which mainstream films continue the hegemonic stereotyping of narratives and
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Akkadia Ford
Groped and Gutted
Hollywood's Hegemonic Reimagining of Counterculture
Samantha Eddy
-Guzman (2016) terms this the “Hollywood Paradox”: seemingly, Hollywood emerges as a subject of diversification in mainstream media and yet the mechanisms of legitimate diversification—beyond tokenizing or stereotyping—are actively blockaded by Hollywood
Close to You
Karen Carpenter and the Body-Martyr in Queer Memory
Julian Binder
Abstract
There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?
On Sinofuturism
Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.
Yunying Huang
Western techno-orientalist stereotypes of China that characterize China as “exotic, bizarre, tacky, and cheap.” Domestic Chinese media, by contrast, often figure China grandly as heroic, stable, and historic. In his video essay, Lek exposes key stereotypes
Tru Leverette and Barbara Mennel
mixed-race cinema, including France's beur cinema, America's Blaxploitation films, and America's long-standing fascination with passing narratives and the tragic mulatto. Chapter 1 explores the tragic mulatto stereotype in American and French cinema
Steven Eastwood
instead concentrated on embodiment, networks, relations, and patterns. Autism Defined Autism Spectrum Disorder (ASD) is a disorder that affects the development of social and communication skills and is characterized by stereotyped patterns of
Redefining Representation
Black Trans and Queer Women’s Digital Media Production
Moya Bailey
, their fears of discrimination are often validated. In a 2004 study, researchers identified nine ways that providers contributed to disparities in care. These included unintentionally relying on stereotypes about racial groups, particularly when pressed
Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub
globally distributed by a subscription-based video-streaming service. It seems to demand a sophisticated awareness of the ways that these new modalities influence not just the production of stereotypes, but the complex new circumstances in which they
Transitions Within Queer North African Cinema
Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist
Walter S. Temple
problematic images associated with AIDS, prostitution, and gender stereotyping. 4 Further yet, these same films were in many ways haunted by a number of taboos imposed by a dominant and heteronormative film industry. One such example that comes to mind is the
Looking for Something to Signify
Something to Signify Gender Performance and Cuban Masculinity in Viva
David Yagüe González
does not necessarily mean, as it was the case for Muñoz, a performance of gender that goes against heteronormativity; rather, it means that drag performance could be included within the hegemony to reframe gender stereotypes imposed by hegemonic powers