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Lowry Martin

juxtaposed with Nabil Ayouch's Much Loved (2015), a film that offers strong criticism of the underground sex trade in Morocco—which is particularly supported by rich Saudis. For the purposes of this article, I focus on the representations of queer male

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Carl Plantinga

probably also the most contentious. It critiques that darling of many film afficionados, Quentin Tarantino, for the revenge scenarios that have become his stock-in-trade in films such as Kill Bill: Vol. 1 (2003), Kill Bill Vol. 2 (2004), Inglourious

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Minority Report

Perceptions and Realities of Black Men in Heterosexual Porn

Darryl L. Jones II

African boys captured and incorporated in the Arab slave trade were far more likely to have their entire genitalia castrated (as opposed to the castration of the testicles of white European captives) on their transformation into eunuchs, and that they were

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Ambivalent Sexualities in a Transnational Context

Romanian and Bulgarian Migrant Male Sex Workers in Berlin

Victor Trofimov

end up in the sex trade because of economic necessity, there are also some who come to Berlin with a conscious intent to engage in this line of work. These sex workers normally have friends and relatives who have been to Berlin before and have

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

movements of Finns, Swedes, Norwegians and Saami, in connection with trade in the 1600s that brought many of them to Skibotn, where the writer grew up. The visual exploration of wood creates a meditation on dwellings and dwelling, all in the context of a

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

Marketing 61 ( 2 ): 68 – 78 . Field , Syd . 2005 . Screenplay: The Foundations of Screenwriting . Rev. ed. New York : Delta Trade Paperbacks . Garrett , Jesse James . 2011 . The Elements of User

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Sol Neely

This Screen Shot section includes three texts—an interview and two articles—that, together, occasion an unsettling movement in the development of an Indigenous phenomenology staged upon Screen Bodies’ concern for the critical tryptic experience, perception, and display. Such phenomenology, moreover, takes shape in the spirit of an enduring and persistent Indigenous cosmopolitanism, one organized by an appeal to a pan-tribal solidarity that is also not shy about drawing from efficacious sources of critique internal to European critical traditions. Together, these texts—and the source materials that inspire them—build rich ecumenical perspectives in the service of decolonial justice and pedagogy. And while the texts included here are composed in English, each draws from and references Indigenous languages, articulating one kind of Indigenous cosmopolitanism that makes use of English as a kind of “trade language.” To stage an Indigenous phenomenology by appeal to an Indigenous cosmopolitanism, in our contemporary political moment, thus calls for critical attention attuned to the perspectives, traditions, and imaginations of what Tlingit poet and author Ernestine Hayes describes as “Indigenous intellectual authority.” In this spirit, Indigenous cosmopolitanism occasions a decolonial-critical cosmopolitanism rooted not in the secular, Habermasian cosmopolitanism of Europe but in the modalities of consciousness, the literary genius and acumen, of Indigenous oral literary traditions. In the context of such a cosmopolitanism in which everyone is variably situated, across the spectrum that divides descendants of perpetrators and victims of settler colonialism, the critical imperative becomes a decolonial one, and non-Indigenous readers are called to shed the epistemological, ontological, and political priorities that broadly characterize European analytical and continental traditions, whatever their internal debates may be. Such an imperative forces phenomenological attention not only on the macrological instantiations of settler-colonial power but also against the “micrological textures of power” that ultimately shape the inner contours of self and, thus, what becomes phenomenologically legible to individuals situated in their cultural contexts.

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

[literally “pimp”] for Tunisia’s sex trade—Roufa confesses that he views himself as a trésor national ( Figure 1 ), but that his “specialty” is [now] women. The secondary character pictured in the frame actually enhances Roufa’s self-portrait as a

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Steven Eastwood

2003) . Such incorrect inferential paths are the basis of horror and thrillers, both deliberately trading on misinformation (it is the cat, not the alien). In Oliver Sachs’s book An Anthropologist on Mars (1995), Temple Grandin identifies similar

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Emma Celeste Bedor

itself, that is unauthorized, and it is this unauthorized distribution that has led to its separation from the pornography industry more generally. In 2013, in fact, pornography trade journal Adult Video News published an article in which an industry