who were considered sexual minorities were all sent to these camps, which were later closed due to international and national pressures and due to the inappropriate conduct of the guards. Masculinity was also seen as a national identity. The
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Looking for Something to Signify
Something to Signify Gender Performance and Cuban Masculinity in Viva
David Yagüe González
Andrew J. Webber
attention. 2 Here, German film is intended to encompass films—including transnational productions such as Lore —made in and about Germany and directly bound up with its conditions of national identity. My particular concern is with childhood as a
Los Roldán and the Inclusion of Travesti Narratives
Representations of Gender-Nonconforming Identities in Argentinian Telenovelas
Martín Ponti
one of the leading voices in trans* studies and activism. Radi, alongside a national coalition, drafted part of the Gender Identity Law passed by the Argentine Congress in May 2012. 8 Since independence from Spain in 1816, the Argentine Civil Code
Lieke Hettinga and Terrance Wooten
landscape of representation has been forcefully shifted to make room for trans and gender-nonconforming actors, characters, and producers. This has not been without risk of overrepresenting trans people as “included” into the national body politic, enabling
Andrew J. Ball
oppositional symbolic form is appropriated by those in power and redeployed to maintain the existent hierarchy. In particular, Eddy tracks how the American film industry used the marginalized identities and emancipatory idiom of the slasher movie to reproduce
Queer Sinofuturism
The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man
Gabriel Remy-Handfield
-human technological (both physical and virtual) artifacts” ( Kim 2017: 235 ). In Lu Yang's strange posthuman universe, identities are not fixed but mutable, and they are mediated by new technologies. If posthumanism can be generally described as a reaction to humanism
Tru Leverette and Barbara Mennel
Diesel, and Dwayne Johnson) demonstrate struggles over collective identities, and Asava reiterates what scholars such as Suzanne Bost (2003) have argued—namely, that the mixed figure also represents social crises over racial and national identity
Handover Bodies in a Feminist Frame
Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997
Gina Marchetti
. Hong Kong bodies serve as somatic markers of this geopolitical transition through the shaping of their outward appearances, physical locations, erotic expressions, and sexual identities. Cinematic depictions of these post-1997 Handover bodies as
Transitions Within Queer North African Cinema
Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist
Walter S. Temple
University Press . 10.7312/boon15110 Lang , Robert . 2008 . “ Sexual Allegories of National Identity in Nouri Bouzid’s Bezness .” In North African Cinema in a Global Context: Through the Lens of Diaspora , ed. Andrea Khalil , 33 – 52 . London
Redefining Representation
Black Trans and Queer Women’s Digital Media Production
Moya Bailey
on queer of color media production and artistic movements from the 1970s, 1980s, and 1990s, younger voices are creating innovative web series, visibility projects, and funding initiatives that reimagine mainstream narratives about their identities