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.
Disability, Gender, and Discourse in The Men
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
Exploring the Sensorial Embodiment of Class
Camilla Hoffmann Merrild, Peter Vedsted, and Rikke Sand Andersen
sensations are turned into symptoms and how people move from feeling fine to feeling sick, we explore the situatedness of the body and its meaning in the making of symptoms. Inspired by what has been referred to as a medical anthropology of sensations (e
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
portraying dramatic events associated with them. Lourdes emerged as a particularly controversial shrine because of people's claims to having been miraculously healed there. The body became a prime focus of the photographic gaze in this context, and
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
Class and Gender Dynamics among EU Civil Servants in Brussels
Drawing upon ethnographic fieldwork between 2007 and 2011 in Brussels, this article shows how visual markers, class distinctions and classification of gender performances come together to create a ‘Euroclass’ among European civil servants. These markings, distinctions and classifications are denoted on bodily hexis and body performance and evoke stereotypes and essentialised representations of national cultures. However, after the enlargements of the EU in 2004 and 2007 they also reveal a postcolonial and imperial dynamic that perpetuates the division into ‘old’ and ‘new’ Europe and enables people from old member states to emerge as a different class that holds its cultural power firm in a dense political environment permeated by networks.
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.
Communism and Epistemology in Iva Pekárková's Novel Truck Stop Rainbows
Drawing on feminist conceptualisations of the body, this essay analyses Iva Pekárková’s novel, Truck Stop Rainbows (published as Péra a Perutě [Feathers and wings] in 1989, translated into English in 1992), to show how this contemporary Czech writer challenges the metaphor of the female body as a container through which communist propaganda in Czechoslovakia offi cially sanctioned and established a normative female identity in maternal, economic and civic functions. I seek to demonstrate how Fialka, the female protagonist who lives under the Czechoslovak communist regime of the 1980s, critiques discursive and epistemic formations that conceptualised the female body as a vessel for reproduction and labour and denied the female body the authority to function as a source of knowledge. Striving to spotlight the body in its cognitive role, I argue for an understanding of the body not as an instrument of knowledge or a neutral medium that enables knowledge production but, rather, as a condition of the possibility of knowing.
Einat Bar-On Cohen
Training toward 'perfect timing' in karate entails deciphering small movements and interpreting them as signs of an opponent's decision to launch an attack. It includes the aptitude to perceive those signs and react to them before the attacker is aware of her own decision. It also depends on the ability of the body to perceive and move without recourse to cognition. This article considers the body in its own right as well as how it is involved in social construction. Following Sheet-Johnstone, the article contends that movement as it is performed is a tool of data collecting, sense making, and action. It attempts to show how movement organizes a social setting that enables intentionality and also opens up the possibility of violence obstructing that intentionality.