...7Consensual Gender I love to spectate consensual gender gender that people seem to groove on, at the moment or all the time. This includes deliberate displays, splashy or discreet. Especially queer gender: like the way feminine- coded curves can become femme curves as an inten- tional alternative...

... on the part of what the author calls “properly historical subjects” of both the experience and the effects of passing from being spectators to being the objects of someone else’s surveillance is basic to understanding the iconoclastic forms of belonging that have developed as the Pelourinho and its...

... unearthed by some of its spectators. Rather than serving as a veiled attacked on an all- seeing and all- controlling state apparatus, the material obstacles the agents face might just as easily be interpreted as a joke that the government is as hard pressed to make ends meet as its citizens. Rodríguez s...

... in Nigeria, as preserved in colonial documentary archives, can be used by his- torians to gather information about local aesthetic values, or to glean clues about African health and hygiene practices that have fallen off the written historical radar. Midcentury film spectators responses are present...

... with repetitive movement. In trying to account for the way films release a mechanism 80 CHAPTER TWO of affective and perceptual participation in the spectator (one is almost never totally bored by a movie Christian Metz turns to movement movement, which in its suggestion of volume and corporeality, evokes life...

... such as remnants of cloth and used clothing tossed in garbage cans; things in their devolving states of glory, comfort, disuse, and decomposition. Teatro da Vertigem, directed by Antonio Araújo, gradually leads us through a deeply disorienting experience. Walking, we spectators feel pushed and pulled by forces we...

... transcribed in the colonial records, spectators were not only essential to each screening as the target of colo- nial health propaganda; they were also visible and vocal in colonial cinema spaces alongside the large number of African intermediaries who partici- pated in the making and exhibition of films...

... devices through which art and culture would be presented and interpreted.2 By invoking the way in which critics, jurors, and art institutions guide spectators toward proper and improper forms of viewing, González betrayed the interested dimension of the disinterested gaze and the provincial character...

.... While spectators argued about whether films harbored secret messages against the socialist state, veiled complicity with po liti cal leaders, or served as publicity stunts, filmmakers complained that these readings ignored the nuances of their depictions of Cuba and reduced their art to propaganda...

... to realize that the Freudian framework that both Mul• vey and Johnston use cannot satisfactorily account for the position of female spectators. We sense that women have some kind of different 59 relationship with what...

... participant observation of screenings and interviews with spec- tators, I paid attention to how diff er ent individuals and social groups inter- preted the film and its politics. While many older Cuban spectators identified with Juan s decision to stay and take on the zombie horde, others dismissed the ending...