media

[1] In the preface to her analysis Racechanges, feminist scholar Susan Gubar explains her own induction to contemporary race theory via gender theory and questions the resistance to scholarly work on racechange: “Was the subject of transracial

Canadian Nationalism and the Construction of a “Socially Appropriate” Femininity[1] Nations have historically constructed themselves as gendered institutions (eg. Nagel 1998; Parker and Russo et al. 1992; Yuval-Davis 1997), and at different times

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward)[2] Neil’s transformation is not just from white to black but from modern to primitive.  At first,

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward)What became transparent were the self-evident ways that Americans choose to talk about themselves through

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward)[1]        Film genres routinely mix and evolve over time in ways that

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward)[1] Jonathan Demme’s Beloved (1998), a film which tries to cope with the trauma of slavery

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward)[1] In periodizing film studies as a modern/modernist phenomenon simply because film technology emerges at

[1] “Smile! Otherwise, the spectator will see how hard you’re working, and the illusion will be lost”– (coach Renald Knysh to Olga Korbut).[2] Soviet women gymnasts enjoyed world dominance in their sport from 1952 until the collapse of the

Figure 1-The Cast of Sex and the City[1]        A very vibrant area of work in television studies at the moment dedicates itself to freshening up debates over “quality television” in an era of “must-see”

[1] Farmer: The affinities between gay male cultures and the Broadway musical are so widely acknowledged that, in popular imaginings, one has become all but indexical of the other. The primary objective—and, in so small measure, the value—of your