media

“I try to laugh about itcover it all up with liesI try and laugh about ithiding the tears in my eyescause boys don’t cryboys don’t cry”– The Cure “Boys Don’t Cry,” Boys Don’t Cry 1980“True to form, Dagger sulked, maintained his distance, and buried

[1]   A striking thing seems to be happening in contemporary male dance films. In the 1990s and into the new millennium, men suffering from masculinity crises often engage with dance in order to once again make a credible claim to their

“I am my little people’s star and slave.”– Imelda Marcos– Los Angeles Times, October 1980“To the extent that necessity is socially dreamed, the dream becomes necessary. The spectacle is the nightmare of imprisoned modern society, which ultimately

“Heterosexuality is always in the process of imitating and approximating its own phantasmatic idealization of itself – and failing.”– Judith Butler 21“It’s the most advanced amusement park in the entire world. I’m not talking about just rides….We’ve

[1]   FARMER: If as Susan Sontag claims in a celebrated formulation, “to talk about Camp [is] to betray it” (105), contemporary cultural theory might seem the site of a veritable mass treason. From Sontag’s own seminal contribution onward

[1]   In the early 1960s, a group of artists and filmmakers working primarily in New York City began to make and exhibit films that displayed the kind of willful excesses that would later define the decade as a period of cultural and

[1]   The Verdict (1982), directed by Sidney Lumet, is not the kind of film that has received attention from feminists. Unlike Alfred Hitchcock’s films (a repeated source of inspiration for psychoanalytic feminist film theory),

[1]   BERELOWITZ: In your book you discuss the embodiment of gender in American art of the first half of the 20th century and trace an unfolding and connected discourse in American modernism from the early days of the Stieglitz circle

You are my fireThe one desireBelieve when I sayI want it that way.– Backstreet Boys, “I Want It That Way”[1]   Among recent trends in youth music culture, perhaps none has been so widely reviled as the rise of a new generation of

[1]   Video games have emerged as a dominant form of cultural expression in the new millennium. As a cultural and economic force, they have surpassed the Hollywood film industry in terms of total revenues, and they are a major source of