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Brian Bergen-Aurand

This issue acknowledges the work of Rosalie Fish (Cowlitz), Jordan Marie Daniels (Lakota), and the many others who refuse to ignore the situation that has allowed thousands of Indigenous women and girls to be murdered or go missing across North America without the full intervention of law enforcement and other local authorities. As Rosalie Fish said in an interview regarding her activism on missing and murdered Indigenous women and girls (MMIWG),

"I felt a little heavy at first just wearing the paint. And I think that was . . . like my ancestors letting me know . . . you need to take this seriously: “What you’re doing, you need to do well.” And I think that’s why I felt really heavy when I first put on my paint and when I tried to run with my paint at first. . . . I would say my personal strength comes from my grandmas, my mom, my great grandma, and I really hope that’s true, that I made them proud." (Inland Northwest Native News interview)

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

-motion scene of girls’ crying from within the room where they were cut, Sembène does not rely on images or audio of pain to communicate his point. Emotion is clear, but not terror, as he relies more on the strength of his female heroine, Collé (Fatoumata

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Screening Vulnerability

Brian Bergen-Aurand

rather than capability or ability—with their links to energy, strength, power, and vitality—began to hold a more central place in my research and critical thought. I began rethinking what bodies do and what they do to us when we experience them

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

in the eroticization of nostalgia, especially among a fandom that has become more visible with the recent coalescence of a niche market for vintage adult films” (14; emphasis in original). One of the book’s greatest strengths is its focus on

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Anxious Breath

An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out

Lara Bochmann and Erin Hampson

both senses, being vulnerable is equated with frailty, openness, or helplessness, and thus is conceptualized as opposed to strength, agency, and power. It is evident that this dichotomy is limited and too simplistic, and our aim is to complicate this

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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

situation, more sustainable and livable imaginaries, and politics of resistance that can help to challenge these conditions politically, ecologically, and academically everywhere. Here is to hoping that there is enough strength left to imagine a different

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

ominous strength—come to represent the whole of his murderous personality, eventually leading to the strangulation of Miriam Haines (Kasey Rogers). The tendency to objectify women is a theme explored by the director in his early films, and it continues

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Situating Screen Bodies

Brian Bergen-Aurand

compare the two photographs, the difference is in the looks of the subjects in both images. While the self-portrait conveys the quiet strength of the photographer with a contemplative attitude toward her work and the situation to which it speaks, it

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

body “are showing signs that transmit strength and power” (2012: 100). Due to their physical appearance, even an infidelity can be overlooked, given that these men are considered to be irresistible to any woman who encounters them. Men should be also

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Close to You

Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder

the end, claimed victory over her body and her name” ( Hoerburger 1996 ). Here, anorexia is personified, and the example encapsulates how Karen's life story was remembered not as a narrative of “female strength or self-reliance, [but as one of] a