...Anne M. Royston Reading Avital Ronell’s unconventionally designed The Telephone Book implies reading material form as well as semantic content. Such a reading emphasizes the book’s typographical illegibilities, which become the figure for the space between person and thing. These illegibilities...

... falls back on her marriage contract with Sammy. Yet the film’s denouement consists of a pecu- liar scene in which Mei Li’s confession of her illegal immigration status magically results in a happy double wedding for her and Wang Ta and for Linda and Sammy. In Linda’s nightclub performance...

... Press 161 162  •  Camera Obscura trend in which migrants from poorer countries, unable to emigrate to first-world metropolises, traverse borders — ­by legal and illegal means — ­to less poor countries. When Sugar Babies  was shown at Florida International Uni- versity in June 2007...

... immigration authorities detain the truck, the Men in Black arrive, lead by agent K (Tommy Lee Jones), and take over the investigation. Speaking Spanish, and in tones familiar to most of the men, K isolates one of the illegal 11 aliens as not belonging. After a lengthy and violent...

... be those frightening beings who drop from outer space, but this cultural phantasm operates as a thinly disguised anxiety about illegal aliens who cross national borders, allegedly abduct jobs, and create ‘mutant’ children through miscegenation.”8 In 38  •  Camera Obscura the popular science...

... venues for illegal—if educational—screenings. But semicautious institutions and festivals have also repeatedly made this “surprise,” “secret,” and “early” Haynes short available for pub- lic consumption, typically within the context of the filmmaker’s other work or within doll-themed programs; the film...

... that lend her specific kinds and degrees of legibility and illegibility. This aspect of Patchwork Girl has led theorists such as George Landow to read the work along familiar constructivist lines. Arguing that “Jackson is showing us the way we always stitch together narrative, notions of gender...

... totalitarian and immigrants are rounded up regularly and dumped into refugee camps. In this dystopic world, our hero, Theo, reluctantly becomes involved in a scheme to protect an illegal African immigrant, a woman named Kee (Clare Hope-Ashitey), who is miraculously pregnant (father unknown...

...- derman, Sharon Thompson, and I were a few of the writers and artists who met in each others’ lofts and apartments to discuss strategies. The older ones shared stories about illegal abortions. Mine of 1959 was particularly illustrative of the punitive attitudes then prevalent, even among medical...

... repeatedly link illegal or unassimilated aliens and their mythological counterparts—aliens who descend from outer space, with, to use Orson Welles’s fictional account, gray snaking bodies and faces so unfamiliar that they inspire sheer horror. I am suggesting...

...? * Why Isn’t Michelle Lopez on Judge Judy?  •  189 Sexual labor emerges as a major theme in your work. One of your current projects, License to Pimp (2009), follows strippers dealing with illegal working conditions in San Francisco. In your first documentary, Straight for the Money (1994...

... signifi- cance': 'On this illegible photogram only 'the trace ofthe absence of time' remains inscribed in the immobility of the image. It would seem that cinema does not have two bodies, one a-temporal, the discontinuous chain of still photograms, the other temporal, the unrolling of the images...

... the everyday (the “utilitarian” waistband) and made to refer, to direct the investigator toward resolution of the puzzle. In one episode, for example, it is a woman’s diary, with its opaque coding of names as initials, that helps Veronica uncover the exploitation and murder of illegal immigrants...

... recognition software, measures that seem inevitably (even if illegally) to lead to the next step — torture. Likewise, in another of 24’s stories, the image of the Chinese body occupying American territory is depicted as an invasion that threatens the US body politic. This demonization...

.... After Deckard, the Los Angeles cop in charge of identifying and “retiring” illegals, exposes her status, she is called to prove her humanity or, rather, in Silverman's analysis, we are called to realize that she is already human by virtue of what she shares with us: the fictive, collective origin of her...

... own over the course of the film. No longer satisfied with merely widening the children’s horizons, Briski becomes invested in liberating the children from the brothels and a life of illegal sex work and installing them on the path to legality, higher education, and social repute. Her goal...

... Photographs, by specialists in erotic portraits of children and adoles- cents like Jock Sturges, can serve as evidence of artistic accomplish- ment, pornographic intent, and, quite possibly, illegal conduct. In what frame shall they, like the work of Robert Mapplethorpe, be judged? Such questions...

... in feeling and emotional relations as opposed to linearly temporal, corporeal, or physical relations, a potent demonstration of José Muñoz’s asser- tion that “queerness is illegible and therefore lost in relation to the straight minds’ mapping of space. Queerness is lost in space or lost...

... giant called Karel Delacourt Hudson (KDH), and the Kenyan Ministry of Health (collectively signifying the “bad guys” of this noir thriller) are all complicit in illegal clinical trials of a drug called Dypraxa. When both Tessa and her confidant Arnold Bluhm (Hubert Koundé) turn up dead after...

... sequence ends that we begin to learn who Lenny is, what SQUID does, and why Lenny’s use and distribution of SQUID is illegal. The SQUID technology has been outlawed because some users have transformed a governmental surveillance technology into a private, recreational drug technol- ogy, and Lenny...