... of Control and Freedom: Power and Paranoia in the Age of Fiber Optics (MIT Press, 2006), and co-editor (with Thomas Keenan) of New Media, Old Media: A History and Theory Reader (Routledge, 2005). She is currently working on a monograph entitled Programmed Visions: Software, DNA, Race (forthcoming MIT...

... of The Watermelon Woman: Reflexivity between Race and Gender Catherine Zimmer Twelve years after the release of Cheryl Dunye’s The Watermelon Woman (US, 1996), the film remains the only feature-length film made by and about an African American lesbian to have received theatrical distribution...

... in the same era. The reconfiguration of privacy is also linked to how race, gender, and class are articulated visually in nineteenth-century media culture. Thus drawing on histories of photography and consumerism, legal history, and cultural theory, as well as on the visual archive of the original Aunt Jemima...

... represent them in film and visual media) and an essay on body transformation in early cinema. An alien spaceship hovers over New York City in Independence Day (dir. Roland Emmerich, US, 1996). Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film Despina...

... Franiaise). Those Who Squat and Those Who Sit: The Iconography of Race in the 1895 Films of Filix-Louis Regnault Fatimah Tobing Rony Explorers do not reveal otherness. They comment upon “anthropology,” that is, the distance sepa...

...Grant Farred Copyright © 1995 by Indiana University Press 1995 Boyz N The Hood (John Singleton, 1991) No Way out of the Menaced Society: Loyalty within the Boundedness of Race Grant Farred Where there is an actual arc of rising violence...

...Diana Adesola Mafe This article argues that the 2013 first-person shooter (FPS) video game BioShock Infinite (2K Games) challenges gamers in its representations of race. Launched in 2007, the BioShock franchise has a reputation for thoughtful dystopian narratives, beautiful retro worlds...

...Beth Coleman Is it possible to think of race as a disinterested object of our delight, as opposed to one that is overinscribed? Can race survive as something other than the remnant of a traumatic history? In this essay, I ask the reader to consider race as technology. This proposition moves race...

...Zahid R. Chaudhary This article aims for an account of materiality that helps apprehend race as a material reality while attending to its semiotic, aesthetic, and cultural signification. Through a close reading of Alfonso Cuarón's film, Children of Men (UK, 2006), the author argues that allegory...

.... Frank Darabont, US, 1994) Diva Traffic and Male Bonding in Film: Teaching Opera, Learning Gender, Race, and Nation Charles I. Nero In the influential Between Men, Eve Kosofsky Sedgwick points to “male homosocial desire” as the potentially erotic “continuum between homosocial...

... Preface: Bringing Race and Media Technologies into Focus Lynne Joyrich The term camera obscura derives from the Latin “dark chamber.” A darkened enclosure with a small opening through which rays of light can pass, projecting an inverted image, in “natural color,” of whatever opaque...

... and Popular Culture (1993), edited by Paul Smith and Lisa Frank. CO 43-2, 44-93 6/7/00 11:58 AM Page 44 Maude, “Maude’s Musical,” CBS, 1973. CO 43-2, 44-93 6/7/00 11:58 AM Page 45 Quality versus Relevance: Feminism, Race, and the Politics...

...Alice Maurice Camera Obscura 2002 Alice Maurice received her Ph.D. in English from Cornell University. The essay in this issue of Camera Obscura forms part of her dissertation on race and realism in early-twentieth-century cinema and literature. She is also associate producer...

... race discourse and the visual representation (or elision) of the face. As the most reproduced visual sign on the Internet, the face continues to operate as a threshold to public space. Facebook, the largest social networking site with more than 80 million registered members, has uploaded more than 4...

... premise that allowed local elites to envision an anti-Black future in which racial difference would disappear, overcome by whiteness. The article shows how this racial regime was articulated as the entanglement between gender, race, and cinematic animation, in three objects: the notion of cinematic body...

... Haven, CT, 18–19 February 2015). 52. J. M. Coetzee, “The Mind of Apartheid: Geoffrey Cronjé (1907–),” Social Dynamics 17, no. 1 (1991): 30. 51. At least to the extent that we consider the latter as a figure of the interstitial and do not “reify” them as an “actual race-being.” Spillers...

.... Such democratization, proponents argue, negates and thus frees us from the embodied particulars of race, ethnicity, gender, and sexuality. This perspective is rooted in and reproduces neoliberal assumptions about bodily transcendence and freedom. Drawing on several Asian American and British Asian blogs, Pham analyzes...

...Anthony Reed This article situates Spike Lee's neglected collaboration with Suzan-Lori Parks, Girl 6 (US, 1996), as part of a broader shift in Lee's understandings of race in the neoliberal era. Its main character, simply called Girl 6 (Theresa Randle), aspires to be an actress, but after...

... of personality became synonymous with technological and social advancement. Though color consultants emphasized that the home was a space for individual consumers to assert their uniqueness through color customization, this so‐called freedom of choice in fact rendered gender, race, and class subject to further...

... homosexuality that it evidences, it simultaneously renders race invisible. The figure of Truman Capote thus becomes a kind of historical shorthand for the nexus of whiteness, male homosexuality, and effeminacy. In other words, the depiction of Capote’s midcentury gay effeminacy in Infamous functions...