The Velvet Light Trap最新文献_第5页

Toward a Filipinx Method: Queer of Color Critique and QTGNC Mobilization in Mark Aguhar's Poetics 走向菲律宾方法:马克·阿古哈尔诗学中的酷儿色彩批判与QTGNC动员

The Velvet Light Trap Pub Date : 2020-09-01 DOI: 10.7560/vlt8605

M. T. Vallarta

引用次数: 1

Queerness in the Digital Age: A Scholarly Roundtable 数字时代的酷儿身份:学术圆桌会议

The Velvet Light Trap Pub Date : 2020-09-01 DOI: 10.7560/vlt8606

Matthew Connolly, Amanda Phillips, Andrew D J Shield, Karen Tongson

引用次数: 0

Absence, Disappearance, and Obfuscation: Contouring the US Anime Market through the Nonpresences in Crunchyroll's Yaoi Catalog 缺席，消失和混淆:通过Crunchyroll的Yaoi目录中的不存在来塑造美国动漫市场

The Velvet Light Trap Pub Date : 2020-09-01 DOI: 10.7560/vlt8602

K. T. Wong

引用次数: 1

The Queer Public and its Problem with Representation 酷儿公众及其代表性问题

The Velvet Light Trap Pub Date : 2020-09-01 DOI: 10.7560/vlt8604

Tyler Quick

引用次数: 0

Comparative Book Reviews: Race and Technology 《比较书评:种族与技术

The Velvet Light Trap Pub Date : 2020-09-01 DOI: 10.7560/vlt8608

引用次数: 0

El Santo vs. Mystery Science Theater 3000: Lucha Libre's Transnational Journey into American Popular Culture El Santo vs. Mystery Science Theater 3000: Lucha Libre进入美国流行文化的跨国之旅

The Velvet Light Trap Pub Date : 2020-02-24 DOI: 10.7560/vlt8505

Emily Rauber Rodriguez

{"title":"El Santo vs. Mystery Science Theater 3000: Lucha Libre's Transnational Journey into American Popular Culture","authors":"Emily Rauber Rodriguez","doi":"10.7560/vlt8505","DOIUrl":"https://doi.org/10.7560/vlt8505","url":null,"abstract":"ABSTRACT:Foreign cinemas have often been positioned as higher-brow alternatives to Hollywood fare, yet every national cinema has some manner of skeleton in the closet. For Mexico, the mass-produced Santo films—starring masked luchador El Santo, who fought off a bevy of monsters in over fifty films throughout the fifties, sixties, and seventies—epitomized the divide between beloved popular culture artifact and shameful counterpoint to national cinematic narrative. Due to the films' lowbrow status in Mexico, they traveled easily into new, similarly lowbrow international spaces, including American drive-ins, late-night television, and Mystery Science Theater 3000. Yet, while the films appeared in these new formats with their nationality largely deemphasized, their Mexicanness was in fact an essential component of the infantilization through which most audiences in the United States and Canada approached them. Drawing on Jeffrey Sconce's work on paracinema; Ella Shohat's and Dolores Tierney's notions of racial and colonialist cinematic readings; and Heather Levi's, Andrew Syder's, and Tierney's histories of El Santo, this article identifies the imperialist attitudes that characterized initial transnational encounters between North Americans and the Santo films, as well as how those frameworks influenced later depictions of lucha libre outside of Mexico even decades later.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116496639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Breaking the Mirror: Hausu and Bad Love Objects 打破镜子:豪苏和坏的爱情对象

The Velvet Light Trap Pub Date : 2020-02-24 DOI: 10.7560/vlt8504

Erin Nunoda

{"title":"Breaking the Mirror: Hausu and Bad Love Objects","authors":"Erin Nunoda","doi":"10.7560/vlt8504","DOIUrl":"https://doi.org/10.7560/vlt8504","url":null,"abstract":"ABSTRACT:The 1977 Japanese horror movie Hausu has become infamous for its exaggerated, cartoonish representations of teenage death: of girls being eaten by pianos, submerged in bleeding clocks, smothered by a torrent of pillows, or dismembered in kaleidoscopes of swirling, two-dimensional objects. When writers care to analyze the film at all, it becomes an emblem of atomic destruction or an excursus on the need to educate a less informed, consumer-oriented audience; its wild aesthetic flourishes solely as a cipher for its political critique. Making use of queer area scholarship, cultural studies work on shōjo manga, and historical investigations into the gendered qualities of the Japanese nation, this article seeks to refocus this often-disregarded film from being understood solely as either a kitschy cult artifact or an allegory for Japan's wounded postwar nationality. Rather than cultivating a coherent political project, Hausu aligns homoerotic bonds between women both with the capacity to inflict injury and as a potential escape from injurious bonds. To view the film in this light is thus to reconfigure this \"bad object\" (as in, trashy midnight movie) through the lens of queer theory's bad object: a portrait of same-gender intimacies without nonnormative guarantee.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116196852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

"Just Because I'm A Lesbian Doesn't Mean I'm Evolved": The "Bad Queer" Women's Comedic Web Series “仅仅因为我是女同性恋并不意味着我进化了”:“坏酷儿”女性喜剧网络系列

The Velvet Light Trap Pub Date : 2020-02-24 DOI: 10.7560/vlt8507

Maria San Filippo

{"title":"\"Just Because I'm A Lesbian Doesn't Mean I'm Evolved\": The \"Bad Queer\" Women's Comedic Web Series","authors":"Maria San Filippo","doi":"10.7560/vlt8507","DOIUrl":"https://doi.org/10.7560/vlt8507","url":null,"abstract":"ABSTRACT:The queer women's comedic web series that have flourished in the last decade, serving as launching pads for their creators, coincided with media-industry nichification's segmentation of a consumer population regarded by advertisers and content providers as one monolithic LGBTQ community. The series I examine—from The Slope, which premiered in 2010, to Strangers, released in 2017—voice their creators' and characters' marginalization from and even opposition to such an imagined community, through recourse to what I call a \"bad queer\" rhetorical practice, which uses ironic metacommentary to critique assimilationist values and tropes alongside queer identity policing. These series emerged, at least initially, as an alternative sphere of queer media production and a queer discursive mode that employs disidentification as a politicized strategy to challenge dominant LGBTQ scripts. Offering an irreverent alternative to mainstream and millennial LGBTQ cultural products, these \"bad queer\" web series express the plurality of the queer \"community\" and expose political contestations within its ranks, and in so doing serve as brand differentiation for a new generation of queer media producers.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121373967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Remixing Vulgarity: Reinterpreting the Legacy of Popular Iranian Cinema 重新混合粗俗:重新诠释伊朗流行电影的遗产

The Velvet Light Trap Pub Date : 2020-02-24 DOI: 10.7560/vlt8506

Laura Fish

引用次数: 1

The Reparative Bite of the Zombie Mouth 僵尸嘴的修复咬

The Velvet Light Trap Pub Date : 2020-02-24 DOI: 10.7560/vlt8502

K. Christensen

{"title":"The Reparative Bite of the Zombie Mouth","authors":"K. Christensen","doi":"10.7560/vlt8502","DOIUrl":"https://doi.org/10.7560/vlt8502","url":null,"abstract":"ABSTRACT:This article examines the Zombie Mouth Fleshlight, a product from the Fleshlight line of male masturbatory sex \"toys.\" Modeled to resemble the oral orifice of the zombie, the Zombie Mouth presents the illusion that it is biting its user's genitals. Drawing upon Eve Kosofsky Sedgwick's reparative motive and Jane Gallop's theory of queer phallic castration, I argue that the Zombie Mouth can be interpreted as a site for imagining queer-feminist forms of sexual representation. Relatedly, the Zombie Mouth can counter the heterosexism that has been seen as underlying both male sex toys and Freudian psychoanalytic theory and present new, perverse forms of phallic sexual pleasure. To develop this argument, I focus on the act of zombie biting, which is central to the fantasy of the Zombie Mouth, and I document the origins of this oral act in the 1968 film Night of the Living Dead and its 1990 remake. I address how the Zombie Mouth borrows the zombie bite and, by association, representations of the oral-erotic destruction and entanglement of women's bodies from the 1968 and 1990 films. Consequently, it becomes possible to re-create castration, when signified through the interaction of the Zombie Mouth and its user, as a queer-feminist act steeped in both violence and eroticism.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125217444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0