Dallas Buyers Club (2013) offers a stereotypical representation of trans themes and images that do not fit contemporary gender-diverse communities, creating negative images and damaging connotations that could last for years. This article explores the stereotypical characterization and clichéd narrative devices deployed to create the fictitious character of Rayon in Dallas Buyers Club and examines the ongoing problematic of trans representation within mainstream cinematic texts by comparing Dallas Buyers Club with The Crying Game (1992), Boys Don’t Cry (1999), and Transamerica (2005). To contextualize the ongoing issues raised by the film and its screenplay, this article reads Rayon as one example in a long line of socially proscribed Hollywood “fallen women,” here, with the narrative displaced onto the transgender body.
Black Trans and Queer Women's Digital Media Production
This article explores Black trans and queer women’s use of digital media platforms to create alternate representations of themselves through a process that addresses health and healing beyond the purview of the biomedical industrial complex. These activities include trans women of color using Twitter to build networks of support and masculine of center people creating their own digital health zine, two projects that value the propagation of crowd-sourced knowledge and the creation of images that subvert dominant representations of their communities. I argue that this process of redefining representation interrupts the normative standards of bodily representation and health presented in popular and medical culture. My research connects the messages within the seemingly objective realm of biomedicine to the social contexts in which they emerge and are shared. By highlighting two examples where I see these connections being made, I shift attention to the images deployed to redefine representations within these liminal communities.
Reflections on an Ethnographic Study of Chinese Infrastructural Projects in Mozambique and Mongolia
Morten Axel Pedersen and Morten Nielsen
Based on two case studies of Chinese infrastructural interventions in Mozambique and in Mongolia, this article introduces the notion of 'trans-temporal hinge' as a heuristic methodological concept that brings together phenomena and events otherwise distributed across time. The authors explore envelopes used when paying Mozambican workers at a construction site in Maputo and roads dividing Chinese oil workers and local nomads in southern and eastern Mongolia as concrete manifestations of trans-temporal hinges. In exploring the temporal properties of these phenomena, we define the trans-temporal hinge as a gathering point in which different temporalities are momentarily assembled. As an analytical scale derived from a specific ethnographic context, we argue that the trans-temporal hinge provides a novel and, quite literally, timely conceptual invention compared with other recent methods of anthropological knowledge production, such as multi-sited fieldwork.
In the debates surrounding the construction of the Trans-Siberian Railway, the transcontinental Canadian Pacific Railway was used as a model. This article traces how eyewitness accounts of Canadian settlement patterns were used by Russian entrepreneurs to argue the case for the financing and organisation of the Trans-Siberian Railway. Given the tense international political climate at the end of the 19th century, the Trans-Siberian also became a focus for imperial rivalry. This article gives a good overview of comparative colonial enterprise in two great continental colonies.
Patrick Stewart, Britishness and the Promotion of X-Men
The terrain and identity of the blockbuster, particularly the subset represented by X-Men, are among the least mapped and consequently misunderstood of Hollywood phenomena. Though the entertainment media deploy the term blockbuster without difficulty across almost every genre of film, academically the term has been more elusive. Previous to Julian Stringer's edited collection Movie Blockbusters, the blockbuster had usually been conceived as an unproblematically American phenomenon. Stringer's attempt to map the blockbuster's terrain usefully brings in the notion of nationality, which will form the focus of this analysis. However, it also begs an explanation of the blockbuster as it will be understood here. This discussion will use John Tomlinson's formulation of globalisation as complex connectivity as the basis for a more flexible framework within which to view the blockbuster film. Thus this article will seek to make sense of the flows of culture represented in X-Men, not as emanating from a central 'American' locus, but rather as shifting around what David Morley and Kevin Robins would term a global-local nexus. In this way the transnational and the national will both be shown to play a role in dispersing elements of films (and indeed this might be extended to other 'global' products) to the maximum number of potential audiences worldwide.
Cosmopolitan Learning through Hospitality in Siberia
This article focuses on the process of cosmopolitan learning among hosts in a hospitality couchsurfing network in Siberia. The data making up the empirical basis for the study were collected during fieldwork in Siberia: between 2007 and 2011 in Krasnoiarsk and Novosibirsk and from 2010 to 2012 in Irkutsk and Vladivostok. The article argues that the interactional dynamics between hosts and guests in cosmopolitan learning are determined by the combination of emotive and cognitive rewards. The primary emotional charge occurs as a result of the first interaction with the visitor, while a cognitive “bonus“ is represented by the opportunity to practice a foreign language in the home environment. In addition, hosts reflect on such aspects as the exchange of lifestyle ideas, the exposure to everyday habitual practices, and the realization of commonality and difference. These reflections leading to self-discovery in the comfort of one's own home constitute an important element in the process of cosmopolitan learning.
Five or ten years from now, the performance of the allegedly leftist regimes in Latin America (particularly those of Venezuela, Ecuador, and Bolivia and, to varying degrees, those of Argentina, Paraguay, Nicaragua, Chile, Uruguay, and Brazil) will be assessed in terms of the extent to which they were able to bring about a reduction of poverty, sustained rates of growth, and a measure of democratization in their countries, including less inequality and more inclusive policies, particularly toward ethnic minorities.
During the course of the 2006 Soccer World Cup, Germans started to celebrate a “new patriotism.” As the construction of national identity is inseparable in Germany from the Nazi past, this occurrence can be considered an indicator of an altered relationship to this past. This article examines these changes by focusing on a nationally recognized site of remembrance, the former Nazi Party Rally Grounds in Nuremberg, where five matches of the World Cup were played. The convergence of site and event evokes contradictions and ambiguities, such as the encounter of the opposed needs of sports and remembrance at the same location. It shows what problems arise at a site of national collective memory today, when the role of the national collective is challenged by developments like European integration, migration within and to Europe, and the on-going effects of globalization.
Tran Anh Hung's Films About Vietnam
The Scent of Papaya (Mùi đu đủxanh), 1993, Président Films, written and directed by Tran Anh Hung, starring Tran Nu Yên-Khê, Man San Lu, Thi Loc Truong.
Cyclo (Xich Lo), 1995, Les Productions Lazennic, Lumiere, La Sept Cinema, La SFP Cinema (Cinepix Film Properties 2006), written and directed by Tran Anh Hung, starring Le Van Loc, Tony Leung Chiu Wai, Tran Nu Yen Khe.
I Come With the Rain, 2009, TF1 International, written and directed by Tran Anh Hung, starring Josh Hartnett, Tran Nu Yen Khe, Byung-hun Lee, Takuya Kimura, Shawn Yue.
Lynda Abraham, Dick McBride, Hugh Underhill and Graham Holderness
Snowdrops Clouds It might as well be Saturday
Riding the Trans-Australian
Scyld’s Funeral (from Beowulf) 597