...Alanna Beroiza This article examines the visual dynamics underlying wrong-body narratives of gender through Lacanian psychoanalytic readings of Annie Leibovitz’s photographs of Caitlyn Jenner for Vanity Fair (2015) and Pedro Almodóvar’s film La piel que habito (Spain/France, 2011). Leibovitz’s...

...-Laure Ryan, Possible Worlds, Artificial Intelligence, and Narrative Theory Telephones are funny things. —Policeman in Sorry, Wrong Number Initial Connections While telephones may well be funny things, they are not always a laughing matter. This certainly holds true for the 1943 radio drama...

... to gather the necessary fabric. Buffalo Bill, of course, is no Lecter, no thinker, he is all body, but the wrong body. Lecter points out that Buffalo Bill hates identity, he is simply at odds with any identity whatsoever; no body, no gender will do and so he has to sit at home with his skins...

... issues, but transsexuals commonly blur the distinction by confusing the performative character of gender with the physical “fact” of sex, referring to their perceptions of their situation as being in the “wrong body.” Although the term transsexual is of recent...

... somber. There is, of course, The Wrong Man: exactly like Psycho (inscribed between the colorful symphonies of North by Northwest and The Birds), it left a trail of shadow, three years earlier, between The Man Who Knew Too Much and Vertigo. The two films do have in common a kind...

... Litvak’s second great film of feminine neurosis, Sorry, Wrong Number, which one review called “a neat stew of imminent violence.”32 This involuted and paranoid narrative is reproduced on the level of style; it extends the curlicue into a grand curlicue and so elevates the spheroid...

..., since we can nd examples both in and out of stories, in a variety of media forms. The mismatched woman is a stumbling block for both feminist and sound theory: she has been synchronized, yet sounds wrong, and neither her image nor her voice smacks of the maternal. This article uses Deanna...

... point only, de Beauvoir was wrong. Recent years have seen both the intensification of technological practices surrounding maternity (invitro fertilization, a 15% increase in Caesarean births between 1970 and 1985, and great strides in perinatal care of premature babies...

... into a microphone. The problems of reading-mispronunciation, misplaced inflection, words broken in the wrong place-mirror Anna O.’s par- apraxes and other problems of speech. Another narrative voice is introduced after the presumed ending of the film. Breuer’s final sentence of the case study is heard...

... that it “never seemed to be up to the rest of [the score7 Sondheim agreed, even though it was Sondheim himself who first wanted to find a place in the show for that melody. Reflecting on this many years later, Sondheim remarked that “the song came from the wrong impulse. It came from...

... narrative of The X-Files’s history, they are wrong; no one points to Cancer Man. The view through the cross-hairs stands metonymi- cally for a gaze that comes into being not as a result of the assassin’s agency, or desire, but as an effect of the victim’s “guilt.” Kennedy...

..., and classed differences, once institutional- ized, resist even the best of intentions. Sweetlustice featured two women attorneys who set out to “right” many of the civil wrongs inflicted upon the residents of the unnamed Southern city in which they lived. The relationship...

...- gates and challenges in its presentation of the serialized, romantic novel, A Woman’s Wrongs. In the following I want to discuss some of the film’s strategies in relation to the representation of history, and its construction in history -for us now-of a group of women...

... and sensitivity with which a given technique can repre- sent a given property of the body. There is nothing wrong with discussing the pros and cons of various technological advances (indeed, this is the valuable service that Estelle Fletcher provides in this issue of Camera Obscura...

... naked body, on which she painfully writes in blood-­ red ink the exact words of her self-­criticism: “I was wrong. . . . I will never do it again.” Such a double inscription of the past onto both digital and physical presence perfectly enacts Henri Berg- son’s notion of memory as the lived...

... long, for after Lenny completes his viewing, Mace reads his reaction and knows that something is wrong. Lenny insists that Mace watch the clip for herself—“You gotta see this. It’s that important”—even though she adamantly opposes the use of SQUID. Lenny persists, and Mace finally capitulates to his...

... in which Lukacs is right about Balzac, but for the wrong reasons: not Balzac's deeper sense ofpolitical and historical realities, but rather his incorrigible fantasy demands ultimately raise History itselfover against him, as absent cause, as that on which desire must come to grief (p. 183...

... Film Institute, 1999. Post Identity 1.2. U of Detroit Mercy, 1998. Fatal Advice: How Safe-Sex Education Went Wrong by Cindy Patton. Duke UP, 1996. Robert Bresson edited by James Quandt. Indiana UP, 1999. Shohei Imamura edited by James Quandt. Indiana UP, 1999. Experimental Ethnography: The Work...

... her what is wrong, Pinky responds with her own question, “Don’t you see?” Dicey’s answer again accentuates the importance of see- ing and knowing in the understanding of racial identities: Yes, Pinky, I do see. . . . You don’t need to say nothing. You...

... this tragic cycle; I started devouring Judy bios at an “unnaturally” early age. Her struggle with the “wrong” body resonated with my own sense of being not quite at home in my own — except when I was onstage. This is one of the points at which I queerly connect with Judy. If Dyer is right and one...