... of sexual images in cinema. Duke University Press 2008 Moving Image Review The View from the Shortbus, or All Those Fucking Movies Nick Davis Can sexual representations warrant the term queer if their only evident claim to antinormativity is their unusual frankness within a popular...

... . Paris: Nathan and Labor, 1983 . Jackson Jr Earl . “Death Drives Across Pornotopia: Dennis Cooper on the Extremities of Being.” GLQ 1 ( 1994 ): 143 –61. Metz , Christian . “Photography and Fetish,” October 34 ( 1985 ): 81 –90. Michelson , Annette . “The Man with a Movie...

..., USA, 2004, 99 min. Palindromes . Todd Solondz, USA, 2004, 100 min. The Woodsman . Nicole Kassell, USA, 2004, 87 min. Moving Image Review Imagining Intergenerationality Representation and Rhetoric in the Pedophile Movie Jon Davies Bad Education. Pedro Almodóvar, Spain...

... these alternative forms, we identify the political work they perform. Analyzing such texts as a victim impact statement, speeches, the TV movie A Girl Like Me , and memorial websites, we contend that relational witnessing and testimony can reconfigure heteronormative forms of kinship and other societal structures...

... moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive...

... argues near the end of her piece that “an increase in sexual awareness is evident in the imag- ery of movies, music, and advertising” (114). She contends that “in the 1970s, the erotic imagery has diversified,” and she proposes that these queer cultural images...

... unexpected and inventive audiovisual accounts of queer kinship, incorporating such formal ele- ments as voice-over, interviews, family photographs and home movies, historical footage, and citations from popular culture.13 Fung and Carlomusto participate in a widespread turn...

... at the box office worldwide.5 Gibson’s pious, neobaroque movie — a testament to his traditionalist Cathol- icism — and Brown’s “heretical,” manifestly anti-­Romanist novel are worlds apart from each other in many respects. But both works, each highly didactic in its own GLQ 17:4 DOI...

.... in the U.S. by Women Make Movies. 1992. 85 min. 
 
 Last Call at Maud's . Dir. Paris Poirier. Prod. Paris Poirier and Karen Kiss. Dist. by The Maud's Project. 1993. 75 min. Works Cited Before Stonewall . Dir. Robert Rosenberg, John Scagliotti, Greta Schiller, and Andrea Weiss. Frameline, 1986...

... hopeful that this movie will foster discus- sion about female body modification and medical ethics. Director’s Note [revised] — The Gendercator is a work of satirical fiction. A satire is not a prediction of the future, it is a commentary on contemporary social trends...

... the not unreasonable belief that it was our civic duty as members of that community to go to the movies. But could we presume to know who “we” were? One cannot predict the loose collectivity brought together QUEER PUBLICITY 75 by moviegoing. At film...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

... Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them...

..., American fi lm scholar R. Bruce Brasell, American fi lm critic Daniel Garrett, and South African historian Susan Newton- King. Though it will “spoil” the plot for readers who have not seen the movie, we offer it as a lively debate about one of the more interesting entries in the new “new queer cinema...

... Movies.” Cineaste 20 . 2 ( 1993 ): 18 –24. Merck , Mandy , “Dessert Hearts.” Queer Looks: Perspectives on Lesbian and Gay Film and Video . Ed. Martha Gever, et al. New York: Routledge, 1994 . 377 –82. Mulvey , Laura , “Visual Pleasure and Narrative Cinema.” Screen 16 . 3 ( 1975...