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Journal articles on the topic 'Queer documentary'
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1
Bao, Hongwei. "The ‘queer generation’:queer community documentary in contemporary China." Transnational Screens 10, no. 3 (September 2, 2019): 201–16. http://dx.doi.org/10.1080/25785273.2019.1662197.
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Ombagi, Eddie. "Filming the invisible: Rubrics of ordinary life in Stories of Our Lives (2014)." Journal of African Cinemas 11, no. 3 (December 1, 2019): 261–76. http://dx.doi.org/10.1386/jac_00020_1.
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Abstract In this article, I offer a reading of Stories of Our Lives (2014), a documentary about the experiences of queer people who live in the city of Nairobi. I am interested in how through the use of the documentary film, the director of the film and the queer people whose lives are represented, articulate new forms of inhabiting and being in the city. This is despite the legal and political hurdles that govern queer liveability in Kenya. I argue that when queer individuals inhabit, move through, move in, occupy or transit through city spaces in their daily habits, practices, rituals and performances, a rubric is generated. As a form, this rubric of ordinary also works both in, and outside of the convention of the documentary film. This rubric not only destabilizes the circulating discourses about queer sexuality, it also crafts a unique queer subjectivity that transcends the physical limitations of the city that enliven forms of queer world making
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Kerrigan, Páraic. "Projecting a queer republic: mainstreaming queer identities on Irish documentary film." Studies in Documentary Film 13, no. 1 (October 17, 2018): 1–17. http://dx.doi.org/10.1080/17503280.2018.1535683.
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Sánchez Espinosa, Adelina, and Orianna Calderón Sandoval. "Queer Gender Performativity in Documentary Cinema: The Transgender Look of Italian Filmmaker Simone Cangelosi." Comunicación y Género 3, no. 1 (January 30, 2020): 27–35. http://dx.doi.org/10.5209/cgen.67500.
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This article analyses the ways in which Italian filmmaker Simone Cangelosi enacts a queer countervisuality in his documentary films Dalla testa ai piedi (2007) and Una nobile rivoluzione (2014). The theoretical framework traces a genealogy from what has been termed as fe/male gazes up to what can be understood as transgender, queer and feminist gazes. Connections between the performative mode of representation, performative documentary cinema and gender performativity are also established. By means of a close reading of both films and an interview with the filmmaker, this paper argues that queer ways of seeing in documentary cinema cannot only depict existing realities but also put forward other ways of being, becoming and collectively enacting the right to appear.
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Deklerck, Stijn. "Bolstering queer desires, reaching activist goals: practicing queer activist documentary filmmaking in Mainland China." Studies in Documentary Film 11, no. 3 (June 14, 2017): 232–47. http://dx.doi.org/10.1080/17503280.2017.1335564.
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Geiger, Jeffrey. "Intimate media: new queer documentary and the sensory turn." Studies in Documentary Film 14, no. 3 (June 27, 2019): 177–201. http://dx.doi.org/10.1080/17503280.2019.1632161.
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Cheng, Fan-Ting. "Visioning a queer documentary: Huang Hui-chen’s Small Talk." Continuum 34, no. 4 (June 24, 2020): 530–42. http://dx.doi.org/10.1080/10304312.2020.1785080.
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Heberer, Feng-Mei. "Sentimental Activism as Queer-Feminist Documentary Practice; or, How to Make Love in a Room Full of People." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 41–69. http://dx.doi.org/10.1215/02705346-7584904.
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This article explores the possibilities for activist intervention through documentary media at a time when rhetorics of rights and recognition are increasingly appropriated into nationalist state projects, capitalist expansion, and a Northern hemispheric vision of the “good world.” It asks: How do activist media (makers) respond to the appropriation of liberal values? What language—visual, affective, political—do they use to remain morally and aesthetically legible to a wider public and majoritarian decision-makers while insisting on the need for structural transformation? To work through these questions, the article studies the documentary work of queer-feminist migrant labor activism in East Asia. This work offers particularly valuable insight into a strategy summarized here as sentimental activism: the simultaneous repetition and radical decentering of liberal rights discourse and its sensorium of human legibility. While critiques of sentimental affect as manipulative political instrument are numerous, this article probes under what conditions sentimental aesthetics might refuse to repeat and transform the normative paradigms stipulating who deserves rights and recognition in the first place. In focusing on Lesbian Factory (dir. Susan Chen, 2010), a documentary by the Taiwan International Workers’ Association on the collaborative effort of Taiwanese activists and queer Filipina migrant workers to push for better migrant labor rights, this article tracks how the documentary deploys a sentimental lexicon of rights and recognition for transformative ends: to center queer female migrant workers as historical protagonists in struggles for social justice and transformation and as an inspirational source for radical aesthetics.
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Betancourt, Manuel. "The Revolution Has Always Been Queer." Film Quarterly 74, no. 3 (2021): 71–75. http://dx.doi.org/10.1525/fq.2021.74.3.71.
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Film Quarterly columnist Manuel Betancourt discusses the disorienting experience of watching El puto inolvidable: Vida de Carlos Jáuregui (Carlos Jáuregui: The Unforgettable Fag, 2018), Lucas Santa Ana’s documentary portrait of the Argentine gay rights activist Carlos Jáuregui. He notes how Jáuregui’s decades-old calls to action resonates with the fight for dignity for LGBTQ people chronicled in documentaries like Bixa travesty (Tranny Fag, Kiko Goifman and Claudia Priscilla, 2018), Rainha da Lapa (Queen of Lapa, Theodore Collatos and Carolina Monnerat, 2019), Indianara (Marcelo Barbosa and Aude Chevalier-Beaumel, 2019), and Lemebel (Joanna Reposi Garibaldi, 2019). Watching these documentaries in tandem provides an opportunity to see how different visions of radical queer politics can be incorporated into the spheres of the domestic, the activist, and the aesthetic, thus helping their subjects and audiences to imagine a brighter, more equitable future.
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Sedano, Nagore. "Una memoria sexuada del cosmos: El marco heteropatriarcal de la cámara telescópica de Patricio Guzmán en Nostalgia de la luz (2010)." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 43–69. http://dx.doi.org/10.5399/uo/peripherica.1.2.4.
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In this article, I draw on Sara Ahmed’s theorization of “queer phenomenology” to examine the re-orientation of memory discourses in Patricio Guzman’s Nostalgia de la luz (2010). In Nostalgia, the camera produces a metaleptic effect by meticulously framing, in a similar manner to that of a telescope, the background of the official historical narrative: the memory of the natural world. Guzmán’s metaleptic camera teaches us an interconnected “memory of the cosmos.” Yet this re-orientation of memory discourses is articulated from a family home that serves as a gendered orienting device. Following queer phenomenology, I trace the ways in which the documentary’s innovative treatment of memory is hindered by the heteropatriarchal orientation of the family home. I argue that, in Nostalgia, the memory of the heterosexual male subject is the one that is transmitted vertically within the heteropatriarchal family. In doing so, the documentary reproduces the familial and linear tropes that have dominated discourses of intergenerational memory transmission. Queer phenomenology warns us that Guzman’s call to “vivir en el frágil tiempo presente” is not merely a question of having or lacking memory. Memory is a matter of following, and returning, specific lines of orientation, at the expense of others.
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Ní Mhaoileoin, Niamh. "The ironic gay spectator: The impacts of centring western subjects in international LGBT rights campaigns." Sexualities 22, no. 1-2 (June 5, 2017): 148–64. http://dx.doi.org/10.1177/1363460717699778.
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With the theory of ‘ironic spectatorship’ (2013), Chouliaraki contends that the experience of the self, rather than the suffering of the other, is at the heart of solidarity campaigns today. Through that lens, this article critiques the centring of the western gay subject in international queer advocacy, using the vilification of Uganda’s anti-homosexuality law as a case study. Through analysis of Stephen Fry’s documentary Out There, and a variety of human rights literature, I conclude that this tendency, as well as being ethically violent, tangibly undermines efforts to achieve queer empowerment.
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Raimondo, Meredith. "The Queer Intimacy of Global Vision: Documentary Practice and the AIDS Pandemic." Environment and Planning D: Society and Space 28, no. 1 (January 2010): 112–27. http://dx.doi.org/10.1068/d1108.
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Brown, AB. "Lawful Performance and the Representational Politics of Queer African Refugees in Documentary Film." Journal of African Cultural Studies 33, no. 1 (December 14, 2020): 67–83. http://dx.doi.org/10.1080/13696815.2020.1792276.
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Fair, Freda L. "“I'm Hard to Catch”." GLQ: A Journal of Lesbian and Gay Studies 27, no. 4 (October 1, 2021): 603–27. http://dx.doi.org/10.1215/10642684-9316867.
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Abstract This article examines Living with Pride: Ruth C. Ellis @ 100 (1999) by Yvonne Welbon, an independent documentary film centered on the life of African American lesbian centenarian Ruth Ellis to advance a queer of color theory of longevity. The analysis closely considers Ruth Ellis's assertion in the film that she: “. . . wasn't in—What you call it? . . . Closet. Never.” Although Ellis explicitly disavows “the closet” declaring instead that she was never in it, both in the film and commonly she is often referred to as “out.” The article addresses the ways in which “out,” along with Ellis's declarations of “never” and “wasn't in,” examined together as “never in,” render Ellis's living legible within black sexuality studies and LGBTQ cultural politics. Ellis advises at the end of the film that cultivating “atmosphere” interpersonally in daily life engenders longevity. Living with Pride puts forth a model of longevity that is personally and collectively grounded in black sexual difference and queer of color resistant social practices that trouble public health life expectancy discourses. Drawing on queer of color critique, black sexuality studies, and visual cultural studies, the article engages Ellis's formulation of black queer atmosphere as a site of imagining that advances the livability of racialized sexual difference.
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Shortes, Connie. ": Between the Sheets, in the Streets: Queer, Lesbian, Gay Documentary . Chris Holmlund, Cynthia Fuchs." Film Quarterly 51, no. 4 (July 1998): 35–36. http://dx.doi.org/10.1525/fq.1998.51.4.04a00070.
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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (October 30, 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.
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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.
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Villarejo, Amy. "Jewish, Queer-ish, Trans, and Completely Revolutionary: Jill Soloway's Transparent and the New Television." Film Quarterly 69, no. 4 (2016): 10–22. http://dx.doi.org/10.1525/fq.2016.69.4.10.
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To judge by the critical enthusiasm with which the second season of Amazon Prime's Transparent (2014–) series has been embraced, Jill Soloway not only has a big trans-affirmative hit on her hands but has succeeded in stimulating a lively conversation about queerness, trans politics, and television representation within the broader society. If the first season of that imaginative lifeworld stressed Maura's transgender emergence through the manipulation of the gaze, the second season expands into queer territory in several ways. Real life, or life seemingly offscreen, has always bled into American television, whether through location shooting, topical references, stars' relationships, or just the indexical details of sound and image. Like cinema, that is, television has always been a documentary of what it records, even in the most minimal sense. What's new is that overtly queer people now make television, and they are seeking to blend details of their queer lifeworlds with the sounds and images of television and the cultural industries elaborated here. Understanding the nature of this blend helps to more accurately pinpoint the conceptions of religion, gender, and sexuality that Soloway brings to Transparent and wants to explore through its textures and detail.
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Santos, Gustavo, Camila Peres Mancio, and Elisa Maranho. "Queer Representation Incorporated at “Him”, Character of “The Powerpuff Girls”." Journal of Science and Technology of the Arts 11, no. 1 (September 10, 2019): 11–22. http://dx.doi.org/10.7559/citarj.v11i1.588.
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In audiovisual's history, minorities as LGBTQ+ people had been excluded or stereotyped, thus, this study has as a guiding question understanding “Him”, character of the classic cartoon series “The Powerpuff Girls”, produced between 1998 and 2005 by Cartoon Network - by the bias of the Queer Theory, which address the questions about non-heteronormative bodies that belong to marginalized groups whose rights are denied and their lives taken. For this, a documentary and exploratory methodology was used, based on the authors researches like: Guacira Louro, Judith Butler, Edgar Morin, besides the analysis of two episodes: Octil Evil and Bash Birthday. Thus, the problematizations arised here refer to: a) How the Queer is related to Him and its possible problems and b) The dialectic between the bodies discourses accepted and excluded from the heteronormative society. The argumentation of this research is sustained by homophobia and transphobia brazilian datas, which reveals the urge to approach matters about gender and sexuality representations.
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Young, Stuart. "Playing with Documentary Theatre: Aalst and Taking Care of Baby." New Theatre Quarterly 25, no. 1 (February 2009): 72–87. http://dx.doi.org/10.1017/s0266464x09000074.
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The coinings of ‘verbatim theatre’ and the ‘testimony play’ have added new factors to any consideration of documentary drama. It is a form that has been proliferating recently, whether in enacted judgements of public policy – privatization of the railways in David Hare's The Permanent Way, the invasion of Iraq in Called to Account at the Tricycle – or in exploring the ‘truth’ about more private issues. In the following article, Stuart Young questions whether the form is appropriate to the discovery of such ‘truth’, but finds that two recent works in the genre, Aalst and Taking Care of Baby, have effected a more complex and reflexive intervention by emphasizing the process of writing or reporting, thereby drawing attention to the methods of construction in documentary theatre and to the problematic issues inherent in those methods. Stuart Young is Associate Professor and Co-ordinator of the Theatre Studies programme at the University of Otago. He has published on Chekhov in performance abroad and rewritings of the plays, New Zealand drama, and gay and queer theatre, and also translates Russian and French drama. He is currently working on a documentary theatre project on family violence in New Zealand.
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Stallone, Sabrina. "A white city turned pink: Tel Aviv as Israel's homonormative LGBTQ flagship." Queer Studies in Media & Popular Culture 4, no. 3 (September 1, 2019): 257–70. http://dx.doi.org/10.1386/qsmpc_00011_1.
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Abstract In recent years, the reputation of the so-called 'White City' Tel Aviv as one of the global gay capitals has been disseminated and upheld by mainstream media. This article builds upon existing analyses of Israel's supposed liberalness towards non-normative lifestyles and its strong links to the phenomenon of pinkwashing. The term has come to signify the glossing over of Israeli settler colonial occupation that specifically directs attention to Israel's progressive LGBTQ rights by juxtaposition with a narrative of queer oppression among Palestinian communities. Looking at a range of media representations, such as Jake Witzenfeld's 2015 documentary Oriented and the mediatized phenomena of Tel Aviv Pride and LGBTQ-friendly Birthright Trips, I explore how these narratives ultimately contribute towards shaping Tel Aviv as an exclusionary urban space, inaccessible to those subjects who do not comply or fit with a securitized and corporatized new normal. By using a critical approach to the city's founding discourse, and the more recent Israeli state's ethno-nationalist investments towards branding Tel Aviv as a queer city, I argue that non-(homo)normative members of the LGBTQ community, and especially Palestinians, are silenced and pushed further away from what is constructed as the queer subject in the 'White City' space.
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Terriquez, Veronica, Tizoc Brenes, and Abdiel Lopez. "Intersectionality as a multipurpose collective action frame: The case of the undocumented youth movement." Ethnicities 18, no. 2 (January 16, 2018): 260–76. http://dx.doi.org/10.1177/1468796817752558.
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During the early 2010s, undocumented youth activists were leading the charge to gain congressional support for the federal Development, Relief, and Education for Alien Minors Act, which sought to provide a pathway to citizenship for eligible undocumented youth in the United States. Led primarily by Latino college students and graduates, this movement became very attentive to and inclusive of the concerns of lesbian, gay, bisexual, transgender, and queer members. Drawing on semi-structured interviews of Latino lesbian, gay, bisexual, transgender, and queer undocumented youth and other documentary evidence, this article demonstrates how activists can deploy intersectionality as a collective action frame that serves multiple purposes. Specifically, intersectionality can function as: (1) a diagnostic frame to help activists make sense of their own multiply-marginalized identities; (2) a motivational frame to inspire action; and (3) a prognostic frame that guides how activists build inclusive organizations and bridge social movements. We show how this frame guided the ways in which lesbian, gay, bisexual, transgender, and queer and other undocumented activists interpreted their own life experiences, prompted them to build inclusive organizations, and broadened the scope of their movement. We conclude by arguing that activists have the potential to adopt intersectionality as a master frame that strengthens ties among various movements mobilizing marginalized populations.
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Xavier de Lima, Marília, Maria Bernadette Cunha de Lyra, and Maria Ignês Carlos Magno. "A performance queer na dupla encenação do filme The Watermelon Woman // The queer performance in the double staging of the film The Watermelon Woman." Contemporânea Revista de Comunicação e Cultura 16, no. 1 (July 11, 2018): 154. http://dx.doi.org/10.9771/contemporanea.v16i1.25959.
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The Watermelon Woman (1996), Cheryl Dunye, é um modelo híbrido de ficção/documentário. A dupla encenação vai da busca de uma atriz negra do cinema mudo ao cotidiano da própria diretora/personagem. Uma associação entre forma e conteúdo permite igualar-se à representação da personagem o deslocamento dos gêneros cinematográficos, tornando o filme uma performance queer, em que a história sobre a vida da mulher-melancia e a realidade de Cheryl se mesclam, dando visibilidade à mulher negra e lésbica./The Watermelon Woman (1996), Cheryl Dunye, is a hybrid movie that is between fiction and documentary model. The double performance goes from the search of a black actress of the silent cinema period to the daily life of the director / character. An association between form and content allows the representation of the character to be equated with the displacement of the cinematographic genres, making the film a queer performance, in which the story about the life of the watermelon woman and the reality of Cheryl merge, giving visibility to the woman black and lesbian.
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Tang, Denise Tse-Shang. "Feeling alive: Voices of incarcerated youth in We Are Alive." Crime, Media, Culture: An International Journal 13, no. 2 (May 30, 2017): 153–70. http://dx.doi.org/10.1177/1741659017710064.
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This article presents a case study of a documentary film to demonstrate the need to look beyond conventions for insight into youth incarceration. Yau Ching’s (2010) We Are Alive documents a series of media production workshops conducted in juvenile correctional centres and training centres in Hong Kong, Macao and Sapporo, Japan. We Are Alive is a significant media text for analysis for two reasons. First, it is a youth-led documentary that offers a glimpse into settings that are often inaccessible to researchers, and second, it adopts a comparative perspective on three East Asian societies. The film offers rich data for sociological analysis as a point of access to understanding the lives of young people detained in correctional institutions in Asia. In analysing it, this article engages the contesting issues of social conformity, criminal justice, youth resistance and teenage masculinities and femininities through a close reading informed by a theoretical matrix comprising queer theory and cultural studies in an inter-Asian context.
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Shortes, Connie. "Review: Between the Sheets, in the Streets: Queer, Lesbian, Gay Documentary by Chris Holmlund, Cynthia Fuchs." Film Quarterly 51, no. 4 (1998): 35–36. http://dx.doi.org/10.2307/1213244.
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Kyrölä, Katariina, and Tuija Huuki. "Re-imagining a Queer Indigenous Past: Affective Archives and Minor Gestures in the Sámi Documentary Sparrooabbán." JCMS: Journal of Cinema and Media Studies 60, no. 5 (2021): 75–98. http://dx.doi.org/10.1353/cj.2021.0020.
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Anthony, A., Tess S. Skadegård Thorsen, Steen Ledet Christiansen, and Carmela Garritano. "Reviews." Screen Bodies 3, no. 1 (June 1, 2018): 109–20. http://dx.doi.org/10.3167/screen.2018.0301001.
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Reina Gossett, Eric A. Stanley, and Johanna Burton, eds., Trap Door: Trans Cultural Production and the Politics of Visibility (Cambridge, MA: MIT Press, 2017), 419 pp. ISBN: 9780262036603 (hardback, $49.95)Katharina Lindner, Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema (London: I. B. Tauris, 2018), 272 pp. ISBN: 9781784536244 (hardback, £72)Saige Walton, Cinema’s Baroque Flesh: Film, Phenomenology, and the Art of Entanglement (Amsterdam: Amsterdam University Press, 2016), 280 pp. ISBN 978 90 8964 951 5 (hardback, €95)Marietta Kesting, Affective Images: Post-apartheid Documentary Perspectives (Albany: State University of New York Press, 2017). vi +278pp. ISBN: 9781438467856 (hardback, $95); ISBN: 9781438467849 (paperback, $29.95)
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van den Brandt, Nella. "Religion-in-the-Making: Media, Culture and Art/Activism as Producing Religion from the Critical Perspectives of Gender and Sexuality." Journal of Religion, Media and Digital Culture 8, no. 3 (December 13, 2019): 408–26. http://dx.doi.org/10.1163/21659214-00803005.
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This article contributes to the study of media, religion and culture from the perspective of gender and sexuality. It argues that media and culture need to be considered as locations in which ‘other stories’ about religion, gender and sexuality are potentially being produced. It shows that various types of media and visual artefacts have different modes of ‘making’ religion. It coins ‘religion-in-the-making’ and uses this concept to focus on two cultural productions that construct/convey ‘other’ religious narratives starting from female and queer bodies: the Belgian fictional movie Le Tout Nouveau Testament and the Al Jazeera biographical documentary Hip-Hop Hijabis.
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Whitworth, Lauran. "Goodbye Gauley Mountain, hello eco-camp: Queer environmentalism in the Anthropocene." Feminist Theory 20, no. 1 (July 24, 2018): 73–92. http://dx.doi.org/10.1177/1464700118788684.
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This article considers the effectiveness of queer environmental ethics in the Anthropocene, a word increasingly used to describe the anthropogenic destruction of ecosystems that marks our current geological era. Taking as my subject the contemporary ecosexuality movement popularised by performance artists Annie Sprinkle and her co-collaborator and partner Elizabeth Stephens, I explore the ethics behind ecosexuals’ encounters with the natural environment. Stephens and Sprinkle's performances, captured in their documentary Goodbye Gauley Mountain: An Ecosexual Love Story (2013), make clear ecosexuality's concurrent urgency and playfulness, which is embodied in a theatrical environmental sensibility that I call eco-camp. Eco-camp is a mode of florid performance, spectacle and ostentatious sex-positivity that champions new forms of relationality between humans and other earthly inhabitants. Drawing from diverse theoretical perspectives, including Mikhail Bakhtin's (1968) carnivalesque, Chris Cuomo's (1998) ethics of flourishing and Cynthia Willett's (Willett et al., 2012; Willett, 2014) theorisation of feminist humour, I argue that ecosexuality's campy ecological ethics provide an alternative to the didacticism and moralism that characterise much contemporary environmentalism. In the spirit of carnival, the tragi-comic and, at times, parodic tone of ecosexuality generates an affective dissonance that spurs us to feel the full effects of our discordance with nature.
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Wang, Oliver. "Choosing to be the Hero, the Joker, the Villain: An Interview with Arthur Dong." Film Quarterly 73, no. 3 (2020): 41–46. http://dx.doi.org/10.1525/fq.2020.73.3.41.
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Oliver Wang interviews documentary filmmaker Arthur Dong. Originally from San Francisco, Dong began his career as a student filmmaker in the 1970s before releasing the Oscar-nominated short film, Sewing Woman in 1982. Since then, his films have focused on the role of Chinese and Asian Americans in entertainment industries as well as on anti-LGBQ discrimination. In the interview, Wang and Dong discuss Dong's beginnings as a high school filmmaker, his decision to turn the story of his seamstress mother into Sewing Woman, his struggle to bring together the Asian American and queer film communities and his recent experience in staging a “Hollywood Chinese” exhibit inside a renovated bar in West Hollywood.
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Skattebol, Jennifer, and Maya Newell. "Gayby Baby – From the politics of representation to the politics of care." Health Education Journal 77, no. 6 (March 24, 2018): 720–31. http://dx.doi.org/10.1177/0017896918759569.
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Background: Real life stories can enable audiences to empathise with the experiences of marginalised groups and communities and are extremely powerful tools in struggles for equality. High-quality documentary research can convey the life experiences of marginalised peoples in ways that are recognisable to them and which further their struggle for equality. Often, marginalised people are represented by ‘filmmakers’ eager to capitalise on the affect produced by detailed renditions of everyday political struggles. However, film-makers are rarely trained in how to empower participants to understand film-making and distribution processes. These understandings and dialogic processes are important if participants are to have a real say in how they are represented. Process: In 2011, Maya Newell and Charlotte Mars began to develop an observational feature documentary Gayby Baby (2015) focused on same-sex families, for the first time revealing the child’s perspective on debates concerning Lesbian, Gay, Bisexual, Trans, Intersex, Queer and their children’s equality. They were interested in empowering participants to have a real say in the film. Jen Skattebol’s family was one of the four families featured in the film. This shared activist experience grounds the authors’ discussion of ethical care in representative practices. Discussion: Recently, documentary film-making and academic research has seen the emergence of a new value system that measures success in terms of ‘impact’ in the public sphere. This developing interest amplifies the ethical issues involved in representational work and raises new questions concerning the implications of subject participation in the development of resources that aim to improve health and well-being in broad political terms. This article sketches out the contours of a more ethical form of social impact making that grew out of kitchen table conversations between documentary subject and maker – the researched and researcher. Ethical frameworks of care need to be recalibrated in line with the issues foregrounded by burgeoning social impact agendas.
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Räthel, Clemens. "Infecting the Welfare State – The Swedish Play Kurage and the “AIDS Crisis”." AUC PHILOLOGICA 2021, no. 1 (August 30, 2021): 37–51. http://dx.doi.org/10.14712/24646830.2021.11.
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The article focuses on the Swedish documentary theatre play Kurage (2020) in which three protagonists look back on how Sweden handled the “AIDS crisis” in the 1980s. In doing so, the play challenges the narrative of exceptional social conditions in Sweden and delivers a queer perspective on welfare state politics. Specifically, in the aesthetic conception of the play, the complex relation between welfare state and illness comes to the fore. I argue that Kurage not only builds on persistent metaphors of illness in literature but also expands epidemic narratives and thus exposes mechanisms of exclusion and marginalization in the welfare state. Finally, the article investigates in what ways pathology, medical institutions, or in a more general way: the understanding of medicine as a “neutral” science play a part in eliminating bodies, writing them out of the body politic and thus allowing for suffering and disappearing.
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Petro, Anthony M. "Ray Navarro’s Jesus Camp, AIDS Activist Video, and the “New Anti-Catholicism”." Journal of the American Academy of Religion 85, no. 4 (May 4, 2017): 920–56. http://dx.doi.org/10.1093/jaarel/lfx011.
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AbstractThis essay examines the 1990 documentary Like a Prayer, emphasizing performances by Chicano AIDS activist Ray Navarro, to reassess two prevailing narratives in religion and politics. First, it challenges the culture wars distinction between secular progressivism and religious conservatism that haunts histories of religion and sexuality. It locates American AIDS activism at the center of religious and sexual narratives to question the range of subjects that become visible as “religious.” Second, reading Like a Prayer as part of the archive of modern Catholicism exposes scholarly assumptions about the relationships between religion and politics, sincerity and performance, religion and secularism. This essay expands the archive of the culture wars—and of queer and Catholic history—to include another form of religious engagement: the use of camp. Thinking with an analytics of camp suggests how AIDS activists employed religious imagery in ways that confound the very division between Catholic and anti-Catholic, religious and secular.
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Kilburn, Lilia. "Epistemology of the Answering Machine." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 1–37. http://dx.doi.org/10.1215/02705346-8085099.
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This article responds to the call, long latent in queer theory, for more nuanced portrayals of vocality. As Andrew Anastasia writes in the introductory issue of TSQ: Transgender Studies Quarterly, accounts of vocality that consider only the voice’s discursive or linguistic qualities “relegate the embodied voice to a service role of rendering audible the coherent thought.” Similarly, for trans-gender individuals undergoing vocal change, media technologies of vocality like the telephone and the answering machine—the subject of this article—do more than render subjects audible. Through a sustained engagement with archives concerning Cher and her transgender son, Chaz Bono, including the documentary Becoming Chaz (dir. Fenton Bailey and Randy Barbato, US, 2011) and memoirs and coming- out guides written by Chaz, and with a particular focus on an exchange concerning an answering machine that lodges Chaz’s changing voice, this article examines how sonic archives are, for Cher and Chaz as for earlier listeners, contested sites of mourning and becoming. Through a reading of Chaz’s voice on Cher’s answering machine, one that considers the projects of phonography and telephony on which it is based, and which draws as well on the concurrent archival concerns of the television show Transparent (Amazon, 2014–19), the article demonstrates how the epistemic and affective stakes of transgender bodies are mediated through specific sonic technologies that give rise to forms of mournful archives. It seeks to show how the answering machine subtends histories that conflate literal death and gender transition; for Chaz, it also affords more radical possibilities than verbal practice alone. Attending to the answering machine complicates the association between voice and agency on which a slogan like “Silence = Death” relies and yields a rethinking of media history and sound studies as they relate to queer lives.
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Liu, Yilong. "Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male." Journal of Ethnic and Cultural Studies 6, no. 1 (June 23, 2019): 1. http://dx.doi.org/10.29333/ejecs/139.
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This paper examines how Canadian filmmakers and artists explore racial and sexual marginalisation in Canada. Two films in particular exemplify different forms of racism towards South Asian immigrants. The first, Rex vs Singh (2008), an experimental documentary produced by John Greyson, Richard Fung, and Ali Kazimi, showcases the ambiguous application of immigration policies to repress South Asian immigration. Through different reconstructed montages, the film confronts these ambiguities in relation to the court case. The second, Seeking Single White Man (2010), a performance-video work by Toronto-based artist Vivek Shraya—South Asian descent, demonstrates not only the dominant racial norms and white normativity in the queer community in Toronto, but also the ambivalence in the performance and in racial identification. I identify ambiguity as the distinct contribution to understanding first: i) how state policies are used for racial and sexual repression, ii) the ways in which identification of racial norms are unstable, iii) and how these norms have been translated into sexual (un)/desirability. The ambiguities evoked by these works provide critical insights to investigate the complexity of racial marginalisation and their intersection with gender/sex normativity.
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Ramsden-Karelse, Ruth. "Moving and Moved." GLQ: A Journal of Lesbian and Gay Studies 26, no. 3 (June 1, 2020): 405–38. http://dx.doi.org/10.1215/10642684-8311772.
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In 1998, the recently established Gay and Lesbian Archives of South Africa acquired about 600 photographs depicting a group of individuals assigned male at birth, who presented and expressed themselves according to conventions of femininity. The girls, as they called themselves, were classified as “Coloured” under apartheid and lived in District Six, Cape Town, when it was declared “Whites Only” in 1966, after which approximately 60,000 residents were forcibly removed as the area was almost completely bulldozed. This collection of photographs has become somewhat embedded in descriptions of the district as home to a way of life or culture, variously described as “gay” or “queer,” generally accepted if not celebrated by its wider community. Drawing on audio recordings featuring their collector, Kewpie, and remaining attentive to the differing and at times contradictory ways Kewpie presents herself, the girls, and District Six more broadly, this article proposes an alternative reading of the Kewpie Photographic Collection, as it is now known. Privileging the creative as opposed to the documentary function of photography and oral testimony, Ramsden-Karelse proposes that Kewpie uses both to make and remake the world around her, as part of what the author understands to be a larger collaborative project.
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Lynes, Krista. "Decolonizing Corporeality." Social Text 37, no. 4 (December 1, 2019): 23–49. http://dx.doi.org/10.1215/01642472-7794355.
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The violence in Mexico is frequently signified in documentary images by the visibility of the corpse, which abstracts the social conditions of disenfranchisement and vulnerability parsed unevenly on the basis of gender and sexuality. Specifically with respect to missing and murdered women across the Americas, the corpse frequently comes to signify abstract violence itself rather than the social conditions of disenfranchisement and vulnerability that women and queer and trans people face daily. Through a reading of installations and interventions by the Mexican artist Teresa Margolles, this article seeks to address how ethical encounters might be summoned through proximate, intimate encounters with the very absence of the disappeared body, represented through bodily fluids and fragmentary remains. The article argues that such aesthetic experiments point to decolonizing forms of intimacy that entail new forms of relationality, resisting a socially confined “rights-based” subject. Instead of structures of recognition, the decorporealized matter present in Margolles’s work both represents the biopolitical regulation of life and continues to impress themselves on the living from another social space. Finally, the article reflects on Margolles’s invitation to participate in performing her sculptures and on the circuits of debt, remittances, and gifts proffered by such intimate engagements with bodily and nonhuman life.
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Chow, Jeremy. "Masturbatory Ecologies." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): 30–59. http://dx.doi.org/10.1215/02705346-8631547.
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This essay considers how environmentalism can be interwoven with discourses of sexuality and the ways in which sexuality can participate in environmental justice movements. By thinking with provocative, erotic media that highlight environmental degradation, it marries investigations of ecological crisis at the hands of deforestation and porn studies with two aims. First, it highlights the fraught relationship a pornographic video aggregator like Pornhub might share with feminist and queer epistemologies. Second, it emphasizes the ecosexual nature of environmental justice by way of Pornhub’s Give America Wood initiative (2014) and the documentary Goodbye Gauley Mountain: An Ecosexual Love Story (2014). While Goodbye Gauley Mountain and Pornhub are incommensurate in many ways, together they demonstrate how masturbatory ecologies enable a relationship with the environment that can be both active, as in the film’s offering, and passive, as with Pornhub’s, and thus constitute a “perverted” environmental justice through the experience and demonstration of sexuality. A perverted environmental justice envisions a broader framework that recognizes the potential to actively and passively participate in environmental social justice while also enfolding the environment into sexual arrangements. “Masturbatory ecologies” thus signifies a self-gratifying mode of environmentalism that harnesses the self, the body, and the erotic to foster positive environmental world building in apocalyptic times.
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Paul, Drew. "Impossible Figures." GLQ: A Journal of Lesbian and Gay Studies 27, no. 4 (October 1, 2021): 551–76. http://dx.doi.org/10.1215/10642684-9316838.
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Abstract This essay examines three documentary depictions of gay Palestinians in Israel and the West Bank. These documentaries often problematically assume a fundamental incompatibility between gay identities and Arab and Palestinian cultures, thereby, first, placing their subjects in the position of choosing between living in Palestine/Israel and living as openly gay; and second, producing a narrative of impossibility, in which Palestinian and gay identities can only exist in irresolvable conflict. However, Paul also argues that critical reactions to these films, as well as some broader scholarly debates over sexual identities and practices in the Arab world, also reinforce this narrative of impossibility in a way that makes little room for the diverse lived experiences of gay Palestinians. In order to move beyond this narrative, Paul rereads these documentaries with an emphasis on the quotidian experiences of the films’ gay Palestinian subjects. Through attention to queerness as a spatial experience, he analyzes the ways in which these characters inhabit urban spaces in Israel and Palestine in ways that contest and disorient dominant narratives about these spaces. Paul concludes that a focus on such experiential moments reveals queer lives that are exuberant and subversive, and he shows the necessity of moving beyond narratives of impossibility in studies of sexuality in the Middle East.
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Maree, Claire. "Weddings and white dresses: Media and sexual citizenship in Japan." Sexualities 20, no. 1-2 (August 1, 2016): 212–33. http://dx.doi.org/10.1177/1363460716645790.
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Representations of gender and sexuality in mainstream media operate to both shape the contours of, and contest the limits to, sexual citizenship. The ‘citational practices’ of media representations mould contemporary understandings of these limits. In this article, the author examines mainstream and social media reports of two separate same-sex wedding ceremonies in Japan; the first at a queer community event in 2007 and the second at a major theme park in 2013. Through citations and quotations, a multitude of voices are embedded in the media texts. In the 2007 case, increased media visibility is mitigated by citational practices that clearly mark the same-sex wedding as devoid of legal standing. Whereas media reports situate the 2013 ceremony in the context of marriage equality trends internationally, an instance of possible discrimination is emphasised as being a ‘misunderstanding’. Similarly, a microanalysis of a light news documentary of the ceremony uncovers citational practices that highlight the importance of ‘forgiveness’ or ‘tolerance’ for ‘mutual coexistence’ in society. Furthermore, the reporting confines the ceremony to a ‘fairytale’-like ‘foreign’ domain. The process of ‘othering’ issues of sexual citizenship is linked to a cyclical process since the 1950s wherein representations of queerness are posited as ‘new’ forms of being in Japan. Discourse surrounding sexual citizenship is thereby projected into a non-domestic, non-specific future time.
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Murray, Ros. "Revisiting Jeanne Dielman: Autour de Jeanne Dielman (2004), Woman Sitting After Killing (2001) and Akerman’s ‘cinéma de ressassement’." Moving Image Review & Art Journal (MIRAJ) 8, no. 1 (September 1, 2019): 54–66. http://dx.doi.org/10.1386/miraj_00005_1.
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This article revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing, made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’, ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.
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Brunow, Dagmar. "Manchester’s Post-punk Heritage: Mobilising and Contesting Transcultural Memory in the Context of Urban Regeneration." Culture Unbound 11, no. 1 (April 12, 2019): 9–29. http://dx.doi.org/10.3384/cu.2000.1525.20191119.
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Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
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Alvarez Seara, Jose Manuel. "Educación física en Uruguay: formación y actuación profesional en la perspectiva de los estudios de género y queer." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 5, no. 2 (September 13, 2021): 213–24. http://dx.doi.org/10.29181/2594-6463-2021-v5-n2-p213-224.
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ResumenEl presente artículo realiza un breve recorrido histórico de la formación en educación física en el Uruguay hasta el presente, haciendo hincapié en la trayectoria de las instituciones públicas que realizaron y realizan en la actualidad la mencionada formación en todo el país, visibilizando los cambios que se dieron a nivel institucional y realizando un análisis desde la perspectiva de género y de diversidad sexual. Se utilizó una metodología cualitativa de revisión documental de textos publicados sobre la temática. Se observó que los cambios introducidos en los últimos años en la formación pública en educación física han sido favorables, siendo que actualmente es una formación universitaria, lo que posibilitó diversas mejoras en el acceso para estudiar y en la formación de departamentos académicos, entre otras. Asimismo a nivel de la perspectiva de género y diversidad sexual se observa que se han realizado cambios en el ISEF-UDELAR, pero que no han sido suficientes para revertir la invisibilidad del tema en la comunidad educativa, se advierte que la institución debería impulsar cambios profundos que tengan en cuenta la temática.Palabras clave: Formación en Educación Física. Género. Diversidad Sexual. Phisical education in Uruguay: formation and profesional performance in the perspective of gender and queer studiesAbstractThis article makes a brief historical overview of formation in physical education in Uruguay up to the present, emphasizing the trajectory of the public institutions that carried out and currently carry out the aforementioned formation throughout the country, making visible the changes that are taking place. They gave at the institutional level and carried out an analysis from the perspective of gender and sexual diversity. A qualitative methodology of documentary review of published texts on the subject was used. It was observed that the changes introduced in recent years in public physical education have been favorable, being that it is currently a university training, which made possible various improvements in access to study and in the formation of academic departments, among others. Likewise, at the level of the gender and sexual diversity perspective, it is observed that changes have been made in the ISEF-UDELAR, but that they have not been enough to reverse the invisibility of the subject in the educational community, it is noted that the institution should promote profound changes that take into account the theme.Keywords: Formation in Physical Education. Gender. Sexual Diversity. Educação física no Uruguai: formação e atuação profissional na perspectiva dos estudos de gênero e queerResumoEste artigo faz um breve panorama histórico da formação em educação física no Uruguai até a atualidade, destacando a trajetória das instituições públicas que realizaram e atualmente realizam a referida formação em todo o país, evidenciando as mudanças que estão ocorrendo no plano institucional, e realizando uma análise desde a perspectiva de gênero e diversidade sexual. Foi utilizada uma metodologia qualitativa de revisão documental de textos publicados sobre a temática. Observou-se que as mudanças introduzidas nos últimos anos na formação pública em educação física têm sido favoráveis, sendo atualmente uma formação universitária, o que possibilitou diversas melhorias no acesso ao estudo e na formação dos departamentos acadêmicos, entre outras. Da mesma forma, ao nível da perspectiva de gênero e diversidade sexual, observa-se que mudanças foram realizadas no ISEF-UDELAR, mas não foram suficientes para reverter a invisibilidade da temática na comunidade educacional, nota-se que a instituição deve promover mudanças profundas que contemplem o tema.Palavras-chave: Formação em Educação Física. Gênero. Diversidade Sexual.
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Schuster, Joshua. "Coral Cultures in the Anthropocene." Cultural Studies Review 25, no. 1 (September 25, 2019): 85–102. http://dx.doi.org/10.5130/csr.v25i1.6405.
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This essay discusses how coral is becoming a kind of charismatic megafauna and a cultural icon for extinction in the Anthropocene. Until recently, most of the cultural associations around coral emphasized the strangeness and exotic qualities of coral that combines animal, mineral, and vegetable bodies. Darwin studied coral as a robust maker of atolls, while Melville wrote about coral stringing the Pacific Islands as ‘marine gardens.’ More recent theorizing on coral from Eva Hayward and Stefan Helmreich has been keen to emphasize how coral is transbiological and queer in the multi-species kinships it enables. However, in recent decades, as evidence of bleaching and mass coral die-offs have been registered by marine scientists, coral is also fast becoming a barometer for the sixth mass extinction. I look at how contemporary cultural representations of coral are straining to reconfigure the life of coral as caught between associations of fragility and resilience, seeing coral as capable of supporting indigenous island civilizations while not being able to survive ocean warming of less than one degree Celsius. I examine the work of recent artists (Courtney Mattison and Alison McDonald) whose coral-themed work combines science and spectacle. These artists return to older visions of coral figured fantastically as both living and dead, yet updating this view for today, as we find coral to be a primary figure for life and death in the Anthropocene. I finish with a discussion of the recent documentary film Chasing Coral (2017) as negotiating multiple simultaneous visual tropes and coral conditions. This film aims to provide viewers with a sense of time constraints for scientists, filmmakers, and for coral reef colonies under extreme stress in areas including the Great Barrier Reef. The film tries to articulate a pathway between scientific documentation, environmental activism, and visual drama, ultimately composing these perspectives into a work that suggests that the imbalance and overlap of these ways of engaging with coral will provide a model for how to form a global coral culture movement.
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Misztal, Mariusz. "Teoria i praktyka królewskiego wychowania na przykładzie eksperymentu edukacyjnego wiktoriańskiego księcia Walii." Biuletyn Historii Wychowania, no. 36 (October 15, 2018): 85–104. http://dx.doi.org/10.14746/bhw.2017.36.6.
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Theory and practice of royal education exemplified by the Victorian Prince of Wales For Queen Victoria and Prince Albert the proper education of their eldest son, and the future king of England, was of paramount importance. Their most important advisor in this matter was Baron Stockmar, who believed in strict control of every moment in the boy’s life. The article examines available documentary sources dealing with the theory of the prince’s education as presented mainly in Queen Victoria’s, Prince Albert’s and Stockmar’s memoirs, as well as the way this theory was translated into practice by the Prince’s tutors and teachers. The main documentary sources here are the official reports and private diaries of Lady Lyttelton, Henry Birch and Frederick Gibbs. All in all, to the great disappointment of Mariusz Misztal (this makes no sense...)
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Westendorp, Mariske, Bruno Reinhardt, Reinaldo L. Román, Jon Bialeki, Alexander Agadjanian, Karen Lauterbach, Juan Javier Rivera Andía, et al. "Book Reviews." Religion and Society 10, no. 1 (September 1, 2019): 171–96. http://dx.doi.org/10.3167/arrs.2019.100113.
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Bielo, James, Materializing the Bible. Digital project. http://www.materializingthebible.com.Casselberry, Judith, The Labor of Faith: Gender and Power in Black Apostolic Pentecostalism, 240 pp., notes, index. Durham, NC : Duke University Press, 2017. Paperback, $25.95. ISBN 9780822369035.Clark, Emily Suzanne, A Luminous Brotherhood: Afro-Creole Spiritualism in Nineteenth-Century New Orleans, 280 pp., notes, index. Chapel Hill: University of North Carolina Press, 2016. Hardback, $34.95. ISBN 9781469628783.Cowan, Douglas E., America´s Dark Theologian: The Religious Imagination of Stephen King, 272 pp., notes, index. New York: NYU Press, 2018. Hardback, $30.00. ISBN 9781479894734.Darieva, Tsypylma, Florian Mühlfried, and Kevin Tuite, eds., Sacred Places, Emerging Spaces: Religious Pluralism in the Post-Soviet Caucasus, 246 pp., illustrations, bibliography, index. New York: Berghahn Books, 2018. Hardback, $90.00. IS BN 9781785337826.Daswani, Girish, Looking Back, Moving Forward: Transformation and Ethical Practice in the Ghanaian Church of Pentecost, 280 pages, figures, notes, index. Toronto: University of Toronto Press, 2015. Paperback, $30.95. ISBN 9781442626584.Giraldo Herrera, César E., Microbes and Other Shamanic Beings, 274 pp., index. New York: Palgrave Macmillan, 2018. Paperback, $99.99. ISBN 9783030100414.Kaell, Hillary, ed., Everyday Sacred: Religion in Contemporary Quebec, 356 pp., figures, notes, index. Montreal: McGill-Queen’s University Press, 2017. Hardback, $110.00. ISBN 9780773550940.Kripal, Jeffrey J., Secret Body: Erotic and Esoteric Currents in the History of Religions, 448 pp., appendix, notes, index. Chicago: University of Chicago Press, 2017. Paperback, $35.00. ISBN 9780226679082.Cabot, Zayin, Ecologies of Participation: Agents, Shamans, Mystics and Diviners, 352 pp., preface, index. London: Rowman & Littlefield, 2018. Hardback, $110.00. ISBN 9781498568159.Lauterbach , Karen, Christianity, Wealth, and Spiritual Power in Ghana, 221 pp., appendix, index. New York: Palgrave Macmillan, 2017. Paperback, $119.99. ISBN 9783319815299.Liberatore, Giulia, Somali, Muslim, British: Striving in Securitized Britain, 304 pp., figures, index. London: Bloomsbury, 2017. Paperback, $32.50. ISBN 9781350094628.Mansur, Marcia, and Marina Thomé, dirs., The Sound of Bells (O Som dos Sinos), documentary film, Portuguese, 70 min. Estúdio Crua, 2016. $320.00. https://store.der.org/the-sound-ofbells-p1012.aspx.Oosterbaan, Martijn, Transmitting the Spirit: Religious Conversion, Media, and Urban Violence, 264 pp., notes, bibliography, index. University Park: Pennsylvania State University Press, 2017. Paperback, $39.95. ISBN 9780271078441.Srinivas, Tulasi, The Cow in the Elevator: An Anthropology of Wonder, 296 pp., notes, references, index. Durham, NC: Duke University Press, 2018. Paperback, $26.95. ISBN 9780822370796.Taneja, Anand Vivek, Jinnealogy: Time, Islam and Ecological Thought in the Medieval Ruins of Delhi, 336 pp., illustrations, notes, references, index. Stanford, CA: Stanford University Press, 2018. Paperback, $30.00. ISBN 9781503603936.Wilcox, Melissa M., Queer Nuns: Religion, Activism, and Serious Parody, 336 pp., notes, bibliography, index. New York: NYU Press, 2018. Paperback, $30.00. ISBN 9781479820368.
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Rodríguez, Juana María. "Una evidencia queer: trabajo sexual y metodologías afectivas." Boletín de Arte, no. 37 (October 23, 2017): 23–34. http://dx.doi.org/10.24310/bolarte.2016.v0i37.3293.
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Este artículo investiga dos libros que combinan fotografía con testimonios biográficos para documentar un albergue para trabajadoras sexuales de la tercera edad en Ciudad de México, Casa Xochiquetzal. La yuxtaposición de biografía y fotografía suscita nuevos interrogantes en nuestra investigación sobre la representación de la subjetividad sexual y las prácticas interpretativas que desplegamos para investigarlas. Este artículo se plantea los modos en que diferentes formas de documentación biográfica problematizan productivamente nuestros encuentros con las representaciones estéticas de la sexualidad; y cómo la presencia corporal del sujeto complica sus testimonios vitales. Este proyecto responde con la propuesta de una metodología queer que descompone las evidencias para valorar lo afectivo como un modo de enlazar con la alteridad.
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Ekiz, Oğulcan. "Documenting the copyright sphere: can festivals solve the problem of copyright clearance for documentaries?" Queen Mary Journal of Intellectual Property 9, no. 4 (December 2019): 452–70. http://dx.doi.org/10.4337//qmjip.2019.04.05.
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The starting point of this article is a short documentary film that I and five colleagues produced in the course of the Business of Film module at Queen Mary University of London's Intellectual Property Law LLM Programme. During the process of production, we faced some borderline issues regarding our unauthorized uses of others’ copyright works. When we put ourselves into the copyright's author's shoes, three problems arose regarding our use of possible limitations and exceptions: the lack of guidance; the fear of liability; and the unharmonized status of limitations and exceptions at an international level. This article examines these problems from a copyright policy perspective and invites documentary festivals to undertake a mission of guiding new documentary directors through the complex, unharmonized world of copyright limitations and exceptions.
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Rotaru, Marina Cristiana. "Building a lieu de memoire in Romanian Consciousness: From Sorin Ilieşiu's Documentary "Queen Marie-The Last Romantic, the First Modern Woman" to the Golden Room in Pelişor Castle." Swedish Journal of Romanian Studies 1, no. 1 (January 25, 2018): 106–31. http://dx.doi.org/10.35824/sjrs.v1i1.17244.
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In 2018 Romania will celebrate the centenary of the Union of 1918, or the Great Union, when all Romanian provinces united into one state: Great Romania, a national ideal which Romanians strove for and achieved on the battlefield and which the Trianon Treaty of 1920 confirmed. For such a time as this hundredth anniversary, it is only natural to call to mind people who made this ideal come true. Queen Marie is rightly considered one of the artisans of the Great Union, being regarded at the time and afterwards as “the living consciousness of Romanian unity, the symbol of confidence in final victory” (Boia 2001: 208). This article aims to investigate the manner in which the queen’s memory is kept alive, and draws on two distinct attempts to portray the queen: Sorin Ilieşiu’s documentary Queen Marie – The Last Romantic, the First Modern Woman and the Golden Room in Pelişor Castle, Queen Marie’s official residence in Sinaia, the royal resort in the Carpathians. These two attempts illustrate how present-day Romanian society tries to regain parts of a common memory that was purposefully obliterated by the communist regime, and strives to rediscover and remap places of their shared memory. My analysis of Ilieşiu’s portrayal of the queen is circumscribed to the field of social semiotics, mainly to the concepts of “distance”, “angle” and “gaze” which Theo van Leeuwen uses in the visual representation of social actors. In my investigation of memory remapping, I draw on Pierre Nora’s concept “lieu de mémoire” and aim to prove that the Golden Room in Pelişor Castle, a place that reflects the personality of the chatelaine and where the queen symbolically reconnected with her origins, has turned into a realm where Romanians have access to a part of their memory which communism did its best to extirpate.
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Booker, Teresa A. "Explaining Economic Inequality Using the Film, The Queen of Versailles." Radical Teacher 116 (November 30, 2019): 87–89. http://dx.doi.org/10.5195/rt.2020.559.
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In introductory classes on race and ethnicity, terms like wealth, economic inequality, and SES (socio-economic status) often take center stage during one chapter or another. There are numerous text books on this subject. But, I've had more success explaining these terms by using different media. To illustrate such important themes to non-economics majors, I often show and discuss The Queen of Versailles, a 2012 documentary that depicts the Siegel family’s 2-year meteoric decent from wealth (being worth billions of dollars) to rags (being worth “only” tens of millions of dollars).
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Heijes, Coen, Xenia Georgopoulou, and Nektarios-Georgios Konstantinidis. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (November 30, 2011): 133–53. http://dx.doi.org/10.2478/v10224-011-0010-9.
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The Tempest. Dir. Janice Honeyman. The Baxter Theatre Centre (Cape Town, South Africa) and the Royal Shakespeare Company (Stratford-upon- Avon, United Kingdom).
As You Like It. Dir. Damianos Constantinidis. “Angelus Novus” Theatre Group, “Vafeio” Theatre.
Queen Lear. Dir. Kostis Kapelonis. “Delos G8” Theatre Group, “Delos” Theatre.
Hamlet Committed Suicide. Dir. Stella Mari. Street theatre, “Minus [two]” Theatre Group, Thission pedestrian zone (Apostolou Pavlou & Heracleidon).
The Documentary. Dir. Sergios Gakas. “Ex Animo” Theatre Group, “Altera Pars” Theatre.
Othello. Dir. Yorgos Kimoulis and Konstantinos Markoulakis. Badminton Theatre, Athens, Greece.