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Media and Marginalized Trans Identities

Theme week organized by
Dean Leetal

My Default State is Phased

By Stephanie Burt

Thinking the non-binary, incommensurability, and sex in Thiagarajan Kumararaja’s Super Deluxe (2019)

By Sneha Kumar

On the Spectrum: Non-binary and Neurodivergent

By Marty Heath

She Is Candy What?? Gender and Racial Identity in Non-Human Characters

By Emma Logsdon

“Half an hour ago, I was a white-haired Scotsman:” Neuroqueerness in Doctor Who

By Mars Nicolí

liquid blackness Presents: Music Video as Black Art: Claiming the B-Side

Theme week organized by
liquid blacknessGeorgia State University

liquid blackness Presents: Music Video as Black Art: Claiming the B-Side

By Alessandra Raengo

Black Study as Practice: Claiming the B-Side as Black Study

By djones

A Pedagogy of the B-Side

By Daren Fowler

“It’s already legit”: Rhizomatic Influence in Contemporary Black Filmmaking

By Jenny Gunn

Haptic Aesthetics as a Form of Strategic Slowness in Black Cinema

By Corey Couch

Reactionary Fandom

Theme week organized by
Anthony DannarGeorgia State University

“Just joined mugclub”: Fan Consumer Activism meets the Culture Wars

By Mel Stanfill

From Fans to Users: Studying Diversity in Academic and Media Industry Research

By Matt Griffin

#SpeakUpNow: “I want Taylor Swift to do better”: Reflecting on a reactionary moment in a fandom

By Simone Driessen

“Don’t Ask Me About My Agenda” or the Silencing Discussions of Racism in Reactionary and Transformative Fandoms

By Lauren Rouse

Jordan Peterson Fandom and the Growing Influence of the “Dark Intellectual Web”

By Anthony Dannar

The Contemporary Streaming Style III

Theme week organized by
Jordan ChrietzbergGeorgia State University

Exposing Hollywood’s Atmospheric Operations: Notes on a New Form of Film Criticism

By Steffen Hven

The Cave of Forgotten Dreams: Some Belated Thoughts on “Barbenheimer”

By Dominic Pettman

Frame-line to On-line: Freezing the Medial Slipstream

By Garrett Stewart

Children in the Factory

By Pasi Väliaho

WGA/SAG-AFTRA Strikes

Theme week organized by
Kate FortmuellerGeorgia State University
Miranda BanksLoyola Marymount University

The Birds

By Kate Fortmueller Miranda Banks

In an Idled Hollywood, a Residuals Dispute is Once Again Key

By Jonathan Handel

Residual Payments and the Fight for Fair Compensation for Labor in Hollywood

By Jennifer Porst

Writers and Actors Can Strike, But Not Their Assistants: On Paying ‘Real Money’ for Unskilled Labor

By Lesley Stevenson

“We’re Not Rich! We’re Not Fancy!”: Working Actors as Precariously Employed Public Figures

By Kristina Brüning

Labor Over Likes: The Messy Boundaries of Media Labor Organization

By Lesley Willard

Reflections on Music Video as Black Art: Claiming the B-SIde

Theme week organized by
liquid blacknessGeorgia State University

The Power of the Return

By Michele Prettyman

Sent to See

By Stefano Harney

Riffs on Spiritual Metadata

By Kya Lou

From Screen to Pleat: Deleuzian Inflections in Visual and Media Discourses

Theme week organized by
Sara Ghazi AsadollahiGeorgia State University

Enfolding-unfolding Aesthetics

By Laura U. Marks

Folding the Politics of Touch

By Tim Murray

Folds to Black or White

By Tanya Shilina-Conte

The Fold as Poetic Event

By Saige Walton

Follow the Pleat: Deleuze, Design, and the Hollywood Musical

By James Tweedie

Critique and the Moving Image I

Theme week organized by
Jordan ChrietzbergGeorgia State University

For Interpretation

By Nico Baumbach

Filming/No Filming. Notes on the latest films of Hong Sang-soo

By Sulgi Lie

Performative Ontologies

By Chang-Min Yu

Film, Still

By Genevieve Yue

Critique and the Moving Image II

Theme week organized by
Jordan ChrietzbergGeorgia State University

Mandela Cinema

By Daniel Fairfax

Cognitive Mapping and Critical Images of Infrastructure

By Erica Stein

Everything’s Connected: Conspiracy, Critique, and Articulation

By John Roberts

Images of Struggle as Having “Lives of Their Own”—Or Not

By Jane M. Gaines

Hollywood Film Style and the Production Code

Theme week organized by
Tom BrownKing's College London

Hollywood Film Style and the Production Code: Criticism and History

By Tom Brown

Choosing the Toilet View: Censorship and Collaboration within Hollywood’s Prison Industrial Complex

By Eli Boonin-Vail

Scarlet Nails, Seduction, and a Game of Chess: Chromatic Subversion in Blood and Sand (1941)

By Hannah Garibaldi

The Miracle of Morgan’s Creek: previewing a hybrid article

By John Gibbs

A Terrible Cold-Blooded Murder of an Innocent Woman

By Alison Peirse

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