(The) Bikini: EmBodying the Bomb

March 1, 2011

“As no doubt we all know, no single instant, no atom of our life (of our relation to the world and to being) is not marked today, directly or indirectly, by that [atomic] speed race.” – Jacques Derrida, “No Apocalypse, Not Now,” Diacritics The history of (the) Bikini [1] An...

Letting Men Off the Hook? Domestic Violence and Postfeminist Celebrity Culture

Jan. 2, 2011

Introduction [1] Contemporary celebrity culture allows for the configuration of certain discourses about male violence against women. By paying attention to this form of culture, changes in the cultural landscape, particularly in relation to the emergence of new forms of social media (such as celebrity gossip blogs and websites), are...

Boys and Girls Come Out to Play: Gender and Music-Making in Hamilton, New Zealand/Aotearoa

Sept. 1, 2010

[1] This article addresses gender and popular music-making in the city of Hamilton, New Zealand, a moderately prosperous provincial city (population 130,000) which services a large rural sector (the Waikato). Starting from the observation that few women enroll in tertiary commercial music courses in Hamilton, I aim to examine both...

Everybody Has a Mammy: The Productive Discomfort of Louise Beavers’ Movie Maids

July 2, 2010

Oh, my God. Oh, my God. I’m sorry. This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll. It’s for the women that stand beside me, Jada Pinkett, Angela Bassett, Vivica Fox. And it’s for every nameless, faceless woman of color that...

Gender as the Next Top Model of Global Consumer-Citizenship

June 1, 2010

[1] At first she looks like a transient, slouching in an alley. Her hair is disheveled, her face dirty, and her clothing in disarray. But the sudden flashing of a photographer’s bulb suggests otherwise. The Manhattan alley in which she poses looks too clean and the people ambling by her...

From Humanitarian Intervention to the Beautifying Mission: Afghan Women and Beauty without Borders

Jan. 3, 2010

[1] In the aftermath of September 11, 2001, the Bush administration was quick to assimilate the terror attacks into a simplistic binary opposition of good and evil, absolving the U.S. of any foreign policy role in triggering the anger which prompted the attacks. As in the buildup to the first...

Section 377 and the “Trouble with Statism”: Legal Intervention and Queer Performativity in Contemporary India

Nov. 1, 2009

Setting the terms: after the Fire [1] While it would be problematic to fix a monolithic moment of change from invisibility to visibility in the context of queer citizenship in India, it could be argued that the events following the screening of Fire (1997) performed an important epistemic shift in...

Shepherding Romance: Reviving the Politics of Romantic Love in Brokeback Mountain

July 2, 2009

[1] The recent film, Brokeback Mountain, directed by Ang Lee and based on Annie Proulx’s short story, received an overwhelmingly admiring response from newspaper and magazine film critics, won a series of prominent film awards, and roused a large, fervent fan base. Several large on-line discussion forums created in the...

Are You Finally Comfortable in Your Own Skin?: The Raced and Classed Imperatives for Somatic/Spiritual Salvation in The Swan

June 1, 2009

[1] When Sylvia is selected to be a contestant on Fox’s makeover and pageant reality show The Swan, we are told that she has faced a lifetime of romantic rejection because of her appearance. In documentary-style footage, Sylvia critiques her bikini-clad body in front of a mirror, speaking of her...

Misfortune and Men’s Eyes: Voyeurism, Sorrow, and the Homosocial in Three Early Brian De Palma Films

May 1, 2009

[1] In her groundbreaking essay “When the Woman Looks,” Linda Williams argues that “Brian De Palma’s film Dressed to Kill extends Psycho ‘s premise by holding the woman [Kate Miller, played by Angie Dickinson] responsible for the horror that destroys her” (94). De Palma extends much more than Psycho’s premise...

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