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Journal Article
GLQ (2023) 29 (4): 427–451.
Published: 01 October 2023
... and audience members, of Khoshgozaran's original declaration of asylum to the US government. When this produced empathetic and, in Khoshgozaran's words, “depressed” reactions from the audience, Khoshgozaran altered the performance, rewriting the document to reflect how she understands her life trajectory...
FIGURES
Journal Article
GLQ (2021) 27 (2): 201–231.
Published: 01 April 2021
... to stretch beyond the in/visibility debate surrounding transgender representation in popular media. It proposes that Soloway’s creative process designates open, imaginative space for audiences (both cisgender and transgender alike) to witness how gender comes to matter for Maura, both in the sense...
Journal Article
GLQ (2014) 20 (4): 491–520.
Published: 01 October 2014
... intrude into the cognitive registers where apparent rationality does not rule as much as imperialist disavowal and contradiction. In short, Cho's lobbed pussy shout-outs wash over her audience like a peristaltic wave. This essay draws out the value of a peristaltic feminism for a queer critical racial...
Journal Article
GLQ (2010) 16 (3): 429–449.
Published: 01 June 2010
... and homosexuality, arguing for the need to understand the historical circumstance of its production and its intended mainstream audience. Duke University Press 2010 Moving Image Review
Moving Pictures
AIDS on Film and Video
Paul Sendziuk
In May 2008 we participated in the “AIDS/ART/WORK” conference...
Journal Article
GLQ (2013) 19 (2): 215–247.
Published: 01 April 2013
... force that brings audiences into fleeting contact with ancestors and goddesses, as sacred ceremony interanimates political critique, queer desire, abject subjects, and indigenous visioning. Her performances generate what I call an abundant present that binds disparate temporal registers: a pre-Conquest...
Journal Article
GLQ (2008) 14 (4): 569–597.
Published: 01 October 2008
... worlds, and explores more openly the relations among tale, style, funding, personnel, production practice, and release in a film scene that seeks visual transparency for queer feeling, career possibility for queer filmmakers, and new recognition effects for queer and nonqueer audiences. It imagines queer...
Journal Article
GLQ (2008) 14 (4): 623–637.
Published: 01 October 2008
... crucially, in their national and cultural origins, these films constitute a cinematic “counterpublic” along the lines Michael Warner prescribes for human and textual communities, recalibrating the relations among sexuality, visuality, and representation as they play out for public audiences...
Journal Article
GLQ (2018) 24 (2-3): 291–314.
Published: 01 June 2018
... of grief for Carol’s maternal losses and asks audiences to enter into a melancholic relationship to the absent presence of queer parenthood. Reading these texts against their grain of white neoliberalism, the essay thus calls for a reimagining of the pleasures and necessities of child rearing in diverse...
Journal Article
GLQ (2018) 24 (2-3): 213–238.
Published: 01 June 2018
... camp’s status as a therapeutic gesture. While both texts may seem to glamorize madness-as-rebellion, staging a set of caricatured associations between feminism, hysteria, and witchcraft, I demonstrate the way each, more powerfully, requires their audience to adopt a stance of radical faith about women’s...
Journal Article
GLQ (2005) 11 (4): 579–603.
Published: 01 October 2005
... to the practicalities of cultural work on the ground.
Among other things, these articulate and committed curators ponder the mixed
blessings of the digital revolution, the fi ckleness of audiences, and the pressures
of the bottom line, in tones that range from the press release to self-therapy...
Journal Article
GLQ (1999) 5 (1): 73–93.
Published: 01 January 1999
...,
providing a collective experience and a literal site of critical reception. What they
exhibit and make visible, alongside their programming, is an audience. In turn it
has become possible to stage “outings” (“we are watching to issue demands for
images more accurately reflecting community...
Journal Article
GLQ (2009) 15 (3): 481–497.
Published: 01 June 2009
..., how, and who behind
film festival organizing and programming profoundly affect the festival’s atmo-
sphere, determining what films screen, what audiences attend, and how films are
presented. But there is little reflection on these subjective practices and their
effects, which is why, frankly...
Journal Article
GLQ (2008) 14 (1): 121–122.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
Journal Article
GLQ (2008) 14 (1): 122–124.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
Journal Article
GLQ (2008) 14 (1): 124–126.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
Journal Article
GLQ (2008) 14 (1): 127–128.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
Journal Article
GLQ (2008) 14 (1): 128–130.
Published: 01 January 2008
..., these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than abstract theoretical...
Journal Article
GLQ (2008) 14 (1): 130–132.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
Journal Article
GLQ (2008) 14 (1): 133–134.
Published: 01 January 2008
... an individual statement. Though indi-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal...
Journal Article
GLQ (2008) 14 (1): 135–137.
Published: 01 January 2008
...-
vidually distinct, these contributors collectively are all focused on their careers
and their relationships with their art form and their audiences, as well as, not sur-
prisingly, on the funding for their next work. Their testimonies are pragmatic, rich
in personal experience and anecdote rather than...
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