CANADIAN REVIEW OF AMERICAN STUDIES最新文献

{"title":"Crossing Cultures and the Poetic Worlds of Forrest Gander, Thomas King, and Margaret Atwood","authors":"J. Hart","doi":"10.3138/cras-2022-005","DOIUrl":"https://doi.org/10.3138/cras-2022-005","url":null,"abstract":"Abstract:Forrest Gander is a major American poet who crosses poetic, cultural, and linguistic bounds. This review article discusses the poetry and poetics of Gander in the context of two other poets, Thomas King and Margaret Atwood, providing a close reading of Gander's Be With (2018), King's 77 Fragments of a Familiar Ruin (2019), and Atwood's Dearly (2020). King, an Indigenous writer and scholar born and educated in the United States, and Atwood, some of whose ancestors lived in the American colonies and who had been a student at Radcliffe/Harvard, also have American experience. Poets may be rooted in the local and national, but they are also part of a comparative or world poetics. These poems express their beauty, understanding, and wisdom in a world too often devoid of poetry. Nature underwrites culture, and the natural world pervades these three collections, which also address human feeling, especially grief and loss.Résumé:Forrest Gander est un poète américain majeur qui traverse les frontières poétiques, culturelles et linguistiques. Le présent article de synthèse examine la poésie et la poétique de cet écrivain dans le contexte de deux autres poètes, Thomas King et Margaret Atwood, et propose une lecture attentive de Be With (2018) de Gander, 77 Fragments of a Familiar Ruin (2019) de King et Dearly (2020) d'Atwood. King est un écrivain et universitaire autochtone né États-Unis, où il a étudié. Atwood, dont certains ancêtres ont vécu dans les colonies américaines, a été étudiant à Radcliffe/Harvard. Tous deux ont également une expérience américaine. Les poètes peuvent être enracinés dans les espaces local et national, mais ils font également partie d'une poétique comparative ou mondiale. Ces poèmes expriment leur beauté, leur compréhension et leur sagesse dans un monde trop souvent dépourvu de poésie. La nature sous-tend la culture, et le monde naturel est omniprésent dans ces trois recueils, qui traitent également des sentiments humains, en particulier du chagrin et de la perte.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"329 - 347"},"PeriodicalIF":0.1,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45075062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Sentimental Physician: J. Marion Sims’s Story of My Life","authors":"Maddi Chan","doi":"10.3138/cras-2022-009","DOIUrl":"https://doi.org/10.3138/cras-2022-009","url":null,"abstract":"The career of Dr. J. Marion Sims, considered the “father of modern gynecology,” culminated with his autobiography. Story of My Life signals the interdependency of American medicine and nineteenth-century print culture, which furthered the demand for physicians’ life narratives. Published posthumously in 1884, Sims’s autobiography is informed by abolitionist sensationalism and sentimentality. Though his work depended on the exploitation and labour of enslaved women, Sims represents himself and his patients sentimentally, in ways that dismiss his culpability in the violence of slavery while legitimizing his authorial voice. By examining how medicine and sentiment intersect within Sims’s autobiography, this paper demonstrates how Sims’s performative affect, together with nineteenth-century sexual and racial politics, granted him unmitigated access to enslaved women’s bodies. The rhetoric of sentimentality deployed in Story of My Life functions to secure Sims’s authority and innocence as a benevolent physician, erasing the labour and embodied experience of the enslaved women he experimented on.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49544155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Slavery to Individuality: A Marxist Reading of Narrative of the Life of Frederick Douglass","authors":"Hala Abu Taleb","doi":"10.3138/cras-2022-008","DOIUrl":"https://doi.org/10.3138/cras-2022-008","url":null,"abstract":"This essay analyzes Narrative of the Life of Frederick Douglass from a pragmatic Marxist perspective. Narrative is revisited as a testimony of the internal world of slaves aiming to influence moral, social and political change, linking the history of slavery with the future potential of individuality","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44528961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction—Alternative/Mainstream","authors":"Luke Bresky","doi":"10.3138/cras-2022-001","DOIUrl":"https://doi.org/10.3138/cras-2022-001","url":null,"abstract":"Association for American Studies Conference held in the fall of 2018; the Call for Papers lured and confronted participants with a range of potential definitions, deployments, instances, convergences, contestations, and juxtapositions of the alternative and the mainstream in all branches of US culture. At the most general, practical level, the theme itself offered a mainstream platform for multidisciplinary discussions. What could be more habitual to scholars in American Studies than the critical assessment of alternatives, real or imagined, under diverse topical or methodological headings? In one form or another, the antithetical categories we designate as alternative and mainstream have figured centrally in American Studies from the field’s institutional beginnings in the late 1950s onwards. At a more specific, timely level, as Elizabeth Jameson details helpfully in an auto-historical reflection based on her memorable conference plenary, the CFP found its immediate provocation in the phrase “alternative facts,” which reverberated symptomatically (however absurdly) for many months after Trump adviser Kellyanne Conway uttered it to defend misleading statements by White House Press Secretary Sean Spicer in January 2017.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"104 - 97"},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42528022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Refashioning Noir: Do Dead Girls Still Live in L.A.?","authors":"S. Ingram","doi":"10.3138/cras-2021-008","DOIUrl":"https://doi.org/10.3138/cras-2021-008","url":null,"abstract":"Abstract:This article compares two works picked by celebrity book clubs in the summer of 2018 for their dissection of mainstream America's ongoing obsession with the violence inflicted on beautiful young bodies of those who identify as female: Alice Bolin's essay collection Dead Girls and Maria Hummel's mystery Still Lives. In reading them together with Melanie Pullen's High Fashion Crime Scenes (2003–2017), a series of monumental, five-feet-by-six-feet photographs in which well-known actresses and models dressed in haute couture were staged as murder victims in elaborately designed settings mostly in and around Los Angeles; Rosi Braidotti's accounting of the two competing notions of life, bios and zoe, and how they coincide on gendered human bodies; and W.J.T. Mitchell's understanding of images' uncanny ability to live on and to animate bodies, my analyses consider the way different forms of artistic representation emerging in Los Angeles work for and against the biopolitical control of objectified, gendered life.Résumé:Le présent article compare l'essai Dead Girls d'Alice Bolin et le mystère Still Lives de Maria Hummel, deux ouvrages choisis par des clubs de lecture de célébrités au cours de l'été 2018 pour leur étude approfondie de l'obsession de la culture américaine contemporaire pour la violence infligée aux beaux jeunes corps de celles qui s'identifient comme des femmes. En les lisant conjointement avec High Fashion Crime Scenes (2003–2017) de Melanie Pullen, une série de photographies monumentales de 1,52 sur 1,81 mètre dans lesquelles des actrices et des mannequins reconnus, portant des vêtements de haute couture, sont mis en scène en tant que victimes de meurtres dans des décors soigneusement travaillés, principalement à Los Angeles et dans ses environs ; en s'appuyant sur les deux notions concurrentes de la vie, bios et zôê, issues de la philosophie de Rosi Braidotti et la façon dont elles coïncident sur les corps humains sexués ; ainsi que sur la compréhension de W.J.T. Mitchell de la capacité étrange des images à vivre sur les corps et à les animer, cette publication analyse la manière dont les différentes formes de représentation artistique présentes à Los Angeles œuvrent en faveur et contre le contrôle biopolitique de la vie objectivée et sexuée.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"126 - 140"},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48053538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fiddling with Southern California at a Time of Upheaval: A.E. Maxwell's Mystery Series","authors":"Markus Reisenleitner","doi":"10.3138/cras-2021-012","DOIUrl":"https://doi.org/10.3138/cras-2021-012","url":null,"abstract":"Abstract:Between 1985 and 1993, Ann Maxwell (aka Elizabeth Lowell) and her husband Evan, a former L.A. Times crime reporter who covered international crime, co-authored a series of neo-noir crime novels featuring the private-eye narrator Fiddler, an independently wealthy, Newport-based macho man with a moral compass and a shady past from which his wealth is derived, and his partner Fiora, a high-powered Orange County banker who made her way into high finance from a humble midwestern background. While the series's plots and characters follow established genre conventions, the novels' settings cannily spotlight regions and locales relevant to California in which the geopolitical transformations of the later 1980s and early 1990s were concentrated. The upheaval of California's social fabric in places such as the Gold Coast, Orange County, Napa Valley, the Mexican border, and even Santa Fe (Los Angeles's alter ego) provide the background for plots that range from Cold War spies and smugglers to a white-collar breed of criminals such as property development scammers, art forgers, and financial fraudsters, exposing the violent and criminal underbelly of a rapidly globalizing and accelerating economic system in which (some parts of) California played a central role. This article provides a geocritical reading of the mystery series that focuses on its modes of political and social critique of the era of Reaganomics, globalization, and the financialization of property, technology, and culture. The series reveals a sustained engagement with political, social, and cultural upheavals that position these locales as sites of contestation and struggles that are, or turn, violent in a variety of ways.Résumé:Entre 1985 et 1993, Ann Maxwell (alias Elizabeth Lowell) et son époux Evan, un ancien journaliste du Los Angeles Times, spécialisé dans les affaires policières et les crimes internationaux, ont coécrit une série de romans policiers néo-noirs mettant en scène le narrateur et détective privé Fiddler, un macho de Newport, riche et indépendant, doté d'un sens moral et ayant un passé douteux dont il tire sa richesse, et sa partenaire Fiora, une banquière de haut vol du comté d'Orange qui s'est frayée un chemin dans le monde de la haute finance à partir d'un milieu modeste du Midwest. Si les intrigues et les personnages de la série suivent les conventions établies du genre, le cadre des romans met habilement en lumière les régions et les lieux de la Californie où se sont concentrées les transformations géopolitiques de la fin des années 1980 et du début des années 1990. Les bouleversements du tissu social californien dans des régions telles que la Gold Coast, le comté d'Orange, Napa Valley, la frontière mexicaine et même Santa Fe (l'alter ego de Los Angeles) servent de toile de fond à des intrigues qui vont des espions et des contrebandiers de la guerre froide à une race de criminels en col blanc tels que les escrocs de l'immobilier, les faussaires d'œuvres d'art e","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"190 - 205"},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46550931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Liberal Containment in Marvel Movies of the Trump Era","authors":"S. Rangwala","doi":"10.3138/cras-2021-010","DOIUrl":"https://doi.org/10.3138/cras-2021-010","url":null,"abstract":"Abstract:Marvel Cinematic Universe (MCU) films provide a recognition of the prevailing crises of our time along with a clear sense of good and evil and that good will prevail, the fantasy that someone will come along to bring us back to the imagined certainty of the liberal status quo. The polarization of our time is reflected within Marvel movies as they (conditionally) critique colonialism, imperialism, patriarchy, and greed, only to individualize their (re)solutions. Black Panther (2018) and Captain Marvel (2019) are the focus of this case study due to their appeal beyond even MCU fans and their focus on two forms of oppression that are often represented as dominant structures of our time: white supremacy and patriarchy. The MCU films foreground challenges to dominance in order to neutralize those critiques; the films narrativize liberal triumph by appropriating its opposition. The adaptation of liberalism in the MCU is to make its own critiques visible and then contain them—a double move that accounts for the immense cultural purchase of these films.Résumé:Les films de l'Univers cinématographique Marvel (MCU) permettent de reconnaître les crises dominantes de notre époque, tout en donnant un sens clair du bien et du mal ainsi que de l'idée que le bien l'emportera, le fantasme que quelqu'un viendra nous ramener à la certitude du statu quo libéral imaginé. La polarisation de notre époque se reflète au sein des films Marvel qui critiquent (conditionnellement) le colonialisme, l'impérialisme, le patriarcat et la cupidité, pour ensuite individualiser leurs (re)solutions. Black Panther (2018) et Captain Marvel (2019) sont au centre de cette étude de cas en raison de leur attrait au-delà même des fans du MCU et de leur focalisation sur deux structures d'oppression qui sont souvent représentées comme étant des structures dominantes de notre époque, à savoir la suprématie blanche et le patriarcat. Les films du MCU mettent en avant les défis de la domination afin de neutraliser ces critiques ; les films narrativisent le triomphe libéral en s'appropriant son opposition. L'adaptation du libéralisme dans le MCU consiste à rendre visibles ses propres critiques, puis à les contenir, un double mouvement qui explique l'immense succès culturel de ces films.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"169 - 189"},"PeriodicalIF":0.1,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46045899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"American Borderlands: Reflections on Margins, Mainstreams, and Alternatives","authors":"E. Jameson","doi":"10.3138/cras-2021-007","DOIUrl":"https://doi.org/10.3138/cras-2021-007","url":null,"abstract":"Abstract:Written as the keynote for the 2018 Canadian Association for American Studies (CAAS) conference, this article draws on the author's personal experience, half-century of historical research, and American art and fiction to examine American mainstreams and alternatives from the boundaries and borderlands of American social relationships and discourses. In the contexts of the Trump administration's alleged \"fake news\" and \"alternative facts,\" it probes who defines the mainstream, who decides what stories are mainstream (or canonical), whose accounts are more \"authentic\" or \"alternative\" or just plain lies. Adding marginalized people and movements to history destabilizes \"mainstream\" histories distorted by skewed sources, silenced stories, and an assumed historical \"mainstream\" or \"consensus.\" Marginalized actors push the boundaries of national histories that do not easily accommodate multiple actors or perspectives. \"Mainstream\" histories of the nation that focus on public politics and powerful actors can make most people appear insignificant and erase the daily acts and grass-roots movements that change the historical mainstream. From unexamined margins, people start or catalyze social change with daily acts that begin to transform social relationships. Changes born in marginalized borderlands can become mainstream truths.Résumé:Rédigé à titre de discours principal de la conférence de la Canadian Association for American Studies (CAAS) de 2018, le présent article s'appuie sur l'expérience personnelle de l'auteure, un demi-siècle de recherche historique, ainsi que la fiction et l'art américains pour examiner les réalités alternatives et les courants dits dominants américains à partir des frontières et des zones frontalières des relations sociales et des discours américains. Dans le contexte des prétendus « fake news » et des « faits alternatifs » de l'administration Trump, l'auteure cherche à savoir qui définit le courant dominant, qui décide quelles histoires sont grand public (ou canoniques), quels sont les récits les plus « authentiques » ou « alternatifs » ou tout simplement des mensonges. L'ajout de personnes et de mouvements marginalisés à l'histoire déstabilise les histoires « grand public » déformées par des sources biaisées, des histoires réduites au silence et un « courant » ou un « consensus » historique présumé. Les acteurs marginalisés repoussent les limites des histoires nationales qui ne s'accommodent pas facilement d'acteurs ou de perspectives multiples. Les histoires « grand public » de la nation qui se concentrent sur les politiques publiques et les acteurs puissants peuvent faire paraître la plupart des gens insignifiants et effacer les actes quotidiens et les mouvements populaires qui changent le courant historique dominant. À partir de marges non examinées, les gens amorcent ou catalysent les changements sociaux par des actes quotidiens qui commencent à transformer les relations sociales. Les changements nés dans les zo","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"105 - 125"},"PeriodicalIF":0.1,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41695550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Films at the Fairs: Cinema at the San Francisco and San Diego International Expositions of 1915","authors":"Dimitrios S. Latsis","doi":"10.3138/cras-2021-009","DOIUrl":"https://doi.org/10.3138/cras-2021-009","url":null,"abstract":"Abstract:The influence of World's Fairs on the development and dissemination of the visual culture of the United States has long been studied by historians and art historians, but the way motion pictures figured into these celebrations of nation, progress, and technology is less well understood. This article surveys cinema's function as a conduit for visual education, a technology for immersive entertainment, an instrument of social control, and a mode of advertisement in two fairs staged in 1915, the Panama Pacific International Exposition in San Francisco and the Panama-California Exposition in San Diego. In its early studio-as-amusement-park and proto-museological initiatives, what I call Hollywood's \"industrial historiography\" took root at those fairs in ways that would reverberate throughout the silent period and indeed continue to structure the way Hollywood thinks about itself to the present day.Résumé:L'importance des expositions universelles pour le développement et la diffusion de la culture visuelle aux États-Unis a longtemps été étudiée par les historiens et les historiens de l'art, mais la manière dont le cinéma figurait dans cettes fêtes du nationalisme, du progrès et de la technologie est moins bien comprise. Cet article examine la fonction du cinéma comme vecteur d'éducation visuelle, technologie de divertissement immersif, instrument de contrôle social et mode de publicité dans deux Expositions organisées en 1915, la Panama Pacific International Exposition à San Francisco et la Panama-California Exposition à San Diego. Dans ses incarnations comme studio-parc d'attractions et proto-musée, ce que j'appelle «l'historiographie industrielle» d'Hollywood a pris racine dans ces Expositions d'une manière qui aurait des conséquences tout au long de la période du muet et continue aujourd'hui à structurer la façon dont Hollywood se perçoit en tant qu'institution culturel.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"141 - 152"},"PeriodicalIF":0.1,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49390173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Mainstreaming of American Queer Cinema","authors":"Susan Lonac","doi":"10.3138/cras-2021-013","DOIUrl":"https://doi.org/10.3138/cras-2021-013","url":null,"abstract":"Abstract:Since 2016, with the theatrical release of Barry Jenkins's Academy Award–winning feature Moonlight, American queer cinema appears to have undergone rapid, even startling changes, moving swiftly from the margins to the mainstream. However, a brief survey of the history of queer cinema in the United States reveals that, in various forms, this shift has actually been underway for decades. Now that it would appear to be nearly complete, it is important to ask not only what has been gained, but also what might be lost, by this mainstreaming of what had appeared to be a firmly outsider category. This article considers the ramifications of the mainstreaming of American queer cinema, examining the position of several key films within the larger cinematic and social landscape. It argues that divergent political viewpoints on the mainstreaming of queer film can—if not be reconciled—at least work in tandem with one another.Résumé:Depuis 2016, avec la sortie en salle de Moonlight, le long métrage oscarisé de Barry Jenkins, le cinéma queer américain semble avoir connu des changements rapides, voire stupéfiants, passant rapidement de la marge au courant dominant. Cependant, un bref aperçu de l'histoire du cinéma queer aux États-Unis révèle que, sous diverses formes, ces changements, en réalité, sont à l'œuvre depuis des décennies. Maintenant qu'ils semblent être pratiquement achevés, il est important de s'interroger non seulement sur les acquis, mais aussi sur les pertes éventuelles, à la suite de cette démarginalisation de ce qui semblait être une catégorie fortement cantonnée aux marges d'Hollywood. Le présent article étudie les ramifications de la démarginalisation du cinéma queer américain, en examinant la position de plusieurs films clés dans le paysage cinématographique et social au sens large. Cette publication soutient que des points de vue politiques divergents concernant l'intégration du cinéma queer dans le courant dominant peuvent au moins fonctionner en tandem les uns avec les autres, sinon être conciliés.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"153 - 168"},"PeriodicalIF":0.1,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49293411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}