Is there a ‘european body’, 1 and how is europeanisation embodied? What is a ‘european body’ then? Jean Comaroff (1993) has once shown that: ‘nationality, culture and physical type are condensed into the language that [ … ] would mature
Who Embodies europe? Explorations into the Construction of european Bodies
Anika Keinz and Paweł Lewicki
Reading the Discursive Shadow in the Age of American Silent Cinema
Amy E. Borden
possibility of a fourth spatial dimension, which invisibly surrounds its characters. Written twenty-four years after the 1895 invention of the cinema and the discovery of x-rays, the story's consideration of the human body is particularly interesting in its
Democracy, Identification, and Embodiment
The significance of embodiment has long been overlooked in theories of deliberative democracy. Deliberation is characterized by inclusive and rational discussion that functions in an allegedly neutral and abstract space. This article draws attention to the bodies between which political interaction always occurs. Bodies have important yet unpredictable effects for political interaction and can extend or disorder the careful conscious conversation invoked by deliberative democrats. Identities are reproduced by bodies, and bodies may conform to or transform their identifications. Using Merleau-Ponty's notion of habitual knowledge, the article argues that bodies provide limitations, capacities, and opportunities for democratic politics. At the same time, bodies and their identifications are themselves transformed through deliberation and other types of political experience.
Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997
. 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
On Aging Bodies, Migration and Youthful Masculinities
; Reichstadt et al. 2010 ; Wentzell 2017 ). As such, aging cannot be understood as a standalone life process. The role of individual life-histories, in conjunction with gendered norms, socialized bodies, and “emotional practices,” is therefore integral to a
Crossing Boundaries in New Disability Documentary Cinema
Documentary film has traditionally perpetuated damaging cultural understandings of disability. However, Astra Taylor’s Examined Life (2008) and Bonnie Sherr Klein’s Shameless: The Art of Disability (2006) utilize documentary techniques to problematize the culturally constructed boundary between disability and able-bodiedness. Spectators are dragged into simultaneously traditional and innovative relationships with the spaces, bodies, and lives inhabited by the documentaries’ disabled subjects. These relationships encourage connection and intimacy even as they contain moments of distance and alienation. The films’ ambivalent representations foster an appreciation of disabled bodies as a reflection of valuable human diversity and a denaturalization of disability’s Otherness. As examples of new disability documentary cinema, the documentaries reflect the political potential of complex and affective representations of disabled subjects.
Consider two instances of screened bodies. The first comes from the article published in the Journal of Sex & Marital Therapy where a group of urologists and radiologists attempted to “confirm that it is feasible to take images of the male
The Politics of the Vagina in Brazil and South Africa
Lisa Beljuli Brown
This article looks at ideas and practices around female virginity in Brazil and South Africa. In South Africa, virginity testing of girls as young as six occurs. In Brazil, speculation about female virginity can have a devastating impact on young women's lives. In both contexts the intactness of the vagina becomes a symbol of a woman's worth as well as a reflection of national well-being or decline. I use feminist psychoanalytic theory to connect such valuations and practices to a perceived threat to the symbolic order of language, culture and law. I argue that during times of social upheaval the vagina comes to represent the abject, or a threat to the subject, and is policed in order for dominant meanings to remain intact. As women's experiences in both contexts demonstrate, these meanings are implicated in a violent economy of women's body parts, which render women symbolically homeless. Yet in Brazil, women subvert these valuations in an ongoing struggle for subjectivity, which involves the creative appropriation of soap operas, and the conversion of suffering into pleasure.
An Interview with Ishmael Hope and Will Geiger on Tlingit House Screens and Indigenous Phenomenology
Sol Neely, Ishmael Hope, and Will Geiger
On a cold, snowy January night in Juneau, Alaska, Will Geiger and I convened at Ishmael Hope’s home—with his wife, Lily, and their five children—for dinner and cordiality in advance of our recording session. The Hope family is exceedingly generous with their time and knowledge, and, as is the case whenever we gather at the Hope home, one can palpably discern the multigenerational inspirations and relations that sustain their work, artistry, and community involvement. Once the children went to bed, we dimmed the lights and pulled out our books.
When the editors of Screen Bodies told me that the journal was interested in expanding notions of screen beyond cinema, I inquired about the possibility of interviewing Ishmael Hope and others on Tlingit house screens and, by a kind of phenomenological appeal, of focusing the conversation through a concern for embodiment. Originally, Ishmael and I invited Will Geiger and Forest Haven, a brilliant Tsimshian PhD candidate from University of California, Irvine, to participate, but Forest was unfortunately unable to attend. Over the years, I have worked closely with these three on a number of academic projects, developing a tight and trusted friendship sustained by mutual respect and interwoven eruditions.
Disability, Gender, and Discourse in The Men
This article considers the representation of gendered disability in The Men (Fred Zinnemann, 1950), Marlon Brando’s first film. A groundbreaking yet deeply ambiguous text, the film explores notions of normative and non-normative physicality through the lens of masculinity, sexuality, and their implications for human status. In the light of key works by disability scholars and of Judith Butler’s discussion of the cultural construction of the body, this article examines the multiple and subversive meanings made available by the film, and the extent to which The Men allows for a different bodily identity based on dissent.