{"title":"Review: Greg Garrett, A Long, Long Way: Hollywood's Unfinished Journey from Racism to Reconciliation","authors":"Clement Obropta","doi":"10.15664/fcj.v20i0.2499","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2499","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132376404","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}
Since the genesis of cyberpunk, narratives told by science fiction authors and scientists alike have been preoccupied with disembodiment. As virtual reality technologies are becoming more accessible, the idea that the human mind will soon be able to separate from the body is no longer so fantastical. Katherine Hayles’ How We Became Posthuman charts the journey of how, in the popular consciousness, the immaterial mind has become privileged over the material body. Hayles and other theorists, like Anne Balsamo, push back against the primacy of the disembodied and urge a return to the body. These texts fail to acknowledge that women and queer individuals benefit from the ability to control how they are represented in digital spaces. I propose a feature article which suggests that feminists and queer theorists need not focus on a strict materialism, and instead embrace the partiality of existence within marginalized bodies. Focusing on Lynn Hershman Leeson’s work - specifically Teknolust and her performance of Roberta Breitmore - alongside Donna Haraway’s “A Cyborg Manifesto”, I examine how existence in everyday online spaces like VR chatrooms and social media platforms can blur the boundaries (especially mind/body) which construct traditional notions of identity. Using this framework, I ultimately argue that modern feminists and queer theorists should avoid alleigiance to rigid descriptions of gender and sexuality, and instead embrace the ways in which virtual reality and online existence allow for fragmented experiences of identity and embodiment which can be liberating for people in oppressed bodies.
自从赛博朋克诞生以来，科幻小说作家和科学家们的叙述就一直专注于脱离肉体。随着虚拟现实技术变得越来越容易获得，人类的思想很快就能与身体分离的想法不再那么不切实际了。凯瑟琳·海尔斯(Katherine Hayles)的《我们如何成为后人类》(How We become Posthuman)描绘了在大众意识中，非物质的心灵如何凌驾于物质的身体之上。海耶斯和其他理论家，如安妮·巴尔萨莫，反对脱离肉体的首要地位，并敦促回归肉体。这些文本没有承认，女性和酷儿群体能够从控制自己在数字空间中的表现方式中受益。我提出了一篇专题文章，建议女权主义者和酷儿理论家不需要关注严格的唯物主义，而是接受边缘化身体中存在的偏袒。关注Lynn Hershman Leeson的作品——特别是Teknolust和她对Roberta Breitmore的表演——以及Donna Haraway的“A Cyborg Manifesto”，我研究了日常在线空间(如VR聊天室和社交媒体平台)的存在如何模糊了构建传统身份概念的界限(尤其是心灵/身体)。利用这个框架，我最终认为现代女权主义者和酷儿理论家应该避免对性别和性行为的刻板描述，而应该接受虚拟现实和网络存在允许身份和化身的碎片化体验的方式，这可以解放被压迫身体的人。
{"title":"I’m a Cyborg, But That’s OK: The Boundary Blurring Work of Lynn Hershman Leeson","authors":"Anna D. Ward","doi":"10.15664/fcj.v20i0.2515","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2515","url":null,"abstract":"Since the genesis of cyberpunk, narratives told by science fiction authors and scientists alike have been preoccupied with disembodiment. As virtual reality technologies are becoming more accessible, the idea that the human mind will soon be able to separate from the body is no longer so fantastical. Katherine Hayles’ How We Became Posthuman charts the journey of how, in the popular consciousness, the immaterial mind has become privileged over the material body. Hayles and other theorists, like Anne Balsamo, push back against the primacy of the disembodied and urge a return to the body. These texts fail to acknowledge that women and queer individuals benefit from the ability to control how they are represented in digital spaces. \u0000I propose a feature article which suggests that feminists and queer theorists need not focus on a strict materialism, and instead embrace the partiality of existence within marginalized bodies. Focusing on Lynn Hershman Leeson’s work - specifically Teknolust and her performance of Roberta Breitmore - alongside Donna Haraway’s “A Cyborg Manifesto”, I examine how existence in everyday online spaces like VR chatrooms and social media platforms can blur the boundaries (especially mind/body) which construct traditional notions of identity. Using this framework, I ultimately argue that modern feminists and queer theorists should avoid alleigiance to rigid descriptions of gender and sexuality, and instead embrace the ways in which virtual reality and online existence allow for fragmented experiences of identity and embodiment which can be liberating for people in oppressed bodies.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"44 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120899785","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}
The adoption of cross-dressing by male characters in Italian comedy films of the 1910s has previously received little critical attention. Far from being isolated representations of queer behaviour, cross-dressing was more prolific both on-screen (and off) than was previously thought. Within the early comedy canon lie the male-female cross-dressing films where the narrative is suspended to allow the audience to gaze upon the cross-dressed character. These films offer audiences a trans-perspective as their gaze is directed by the cross-dressed character to the transgendered body. The queerness of these films lies not only is the visibility of the queer characters but also in the productivity of the queerness. The film itself becomes queer as the narrative economy is replaced by a luxuriating of the queer body. For the spectator a conflict occurs as the cross-dressed character’s visibility, through the materialisation of the body, disrupts the perception of a trans-corpo-reality. Exposure of the cross-dressed character ruptures the heteronormative construction of the cinematic space. In the early Italian comedy films, knowledge of the cross-dressing comic star is the visibility that threatens the transgender character. The queerness of the cross-dressed character in Italian comedy films opens up temporalities and suggests the possibility of different modes of living, and of reading film texts. This paper argues that the popularisation of the cross-dressed male served as a transgressive force that provided an articulation of social tolerance in Italy at a time when gender roles were undergoing renegotiation.
{"title":"Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies","authors":"Emma Morton","doi":"10.15664/fcj.v20i0.2514","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2514","url":null,"abstract":"The adoption of cross-dressing by male characters in Italian comedy films of the 1910s has previously received little critical attention. Far from being isolated representations of queer behaviour, cross-dressing was more prolific both on-screen (and off) than was previously thought. \u0000Within the early comedy canon lie the male-female cross-dressing films where the narrative is suspended to allow the audience to gaze upon the cross-dressed character. These films offer audiences a trans-perspective as their gaze is directed by the cross-dressed character to the transgendered body. The queerness of these films lies not only is the visibility of the queer characters but also in the productivity of the queerness. The film itself becomes queer as the narrative economy is replaced by a luxuriating of the queer body. \u0000For the spectator a conflict occurs as the cross-dressed character’s visibility, through the materialisation of the body, disrupts the perception of a trans-corpo-reality. Exposure of the cross-dressed character ruptures the heteronormative construction of the cinematic space. In the early Italian comedy films, knowledge of the cross-dressing comic star is the visibility that threatens the transgender character. The queerness of the cross-dressed character in Italian comedy films opens up temporalities and suggests the possibility of different modes of living, and of reading film texts. This paper argues that the popularisation of the cross-dressed male served as a transgressive force that provided an articulation of social tolerance in Italy at a time when gender roles were undergoing renegotiation. ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133792023","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}
{"title":"Letter from the Editors","authors":"Philippa Orme, Isaac Pletcher, W. Kirkpatrick","doi":"10.15664/fcj.v20i0.2508","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2508","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122147783","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}
This article explores the experience of disorientation within projective moving image installations through a case study of the artwork Swinguerra (2019) by Barbara Wagner and Benjamin de Burca. The encounter with the case study evoked an experience of disorientation due to the confusing process of deciding which way to look, which room to enter, which side to walk towards in the art gallery. Engaging with music video aesthetics, this case study portrays Brazilian queer dance groups that work with popular music from the northeast of Brazil. Rather than representing these bodies, Wagner and de Burca speak nearby to them through a besideness attitude, allowing the dancers to speak for themselves in the film. Besideness comprehends an attitude that destabilises normative positionalities to challenge binarisms and hierarchies that can privilege the experience of some bodies to the detriment of others. I employ a queer phenomenological and autoethnographic methodology to explore the fleeting disorientated moments that emerged in the live encounter with this artwork. This is to account for an analysis that considers self-narration and autobiographical notes of a queer researcher as queer methods appropriate to approaching disorientation as a queer affective experience. I argue that my physical and affective positionality in relation to the two projective moving images located in the art gallery affected the other bodies I shared the space with, leading to the necessity of also employing a besideness attitude and demonstrating how distance and proximity from objects can only be understood if in relation to each other.
本文通过芭芭拉·瓦格纳(Barbara Wagner)和本杰明·德·布尔卡(Benjamin de Burca)的作品《Swinguerra》(2019)的案例研究，探讨了投影移动图像装置中迷失方向的体验。与案例研究的相遇唤起了一种迷失方向的体验，因为在艺术画廊中，决定从哪个方向看，进入哪个房间，走向哪一边的困惑过程。与音乐视频美学相结合，本案例研究描绘了巴西酷儿舞蹈团体与巴西东北部流行音乐的合作。瓦格纳和德布尔卡并没有代表这些身体，而是通过一种旁观的态度在他们身边说话，让舞者在电影中为自己说话。除此之外，它理解了一种态度，这种态度破坏了规范性的地位，挑战了二元主义和等级制度，这种二元主义和等级制度可以使某些机构的经验得到特权，而损害其他机构的经验。我采用酷儿现象学和自我民族学的方法来探索在与这件艺术品的现场相遇中出现的转瞬即逝的迷失时刻。这是为了解释一种分析，认为酷儿研究者的自我叙述和自传体笔记是酷儿方法，适合作为一种酷儿情感体验来接近迷失方向。我认为，我的身体和情感位置与艺术画廊中两个投影运动图像的关系影响了与我共享空间的其他身体，导致也有必要采用一种旁边的态度，并表明与物体的距离和接近如何只有在相互关系中才能被理解。
{"title":"Besideness: distance and proximity as queer disorientations to inhabit projective moving image installations","authors":"D. Barauna","doi":"10.15664/fcj.v20i0.2511","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2511","url":null,"abstract":"This article explores the experience of disorientation within projective moving image installations through a case study of the artwork Swinguerra (2019) by Barbara Wagner and Benjamin de Burca. The encounter with the case study evoked an experience of disorientation due to the confusing process of deciding which way to look, which room to enter, which side to walk towards in the art gallery. Engaging with music video aesthetics, this case study portrays Brazilian queer dance groups that work with popular music from the northeast of Brazil. Rather than representing these bodies, Wagner and de Burca speak nearby to them through a besideness attitude, allowing the dancers to speak for themselves in the film. Besideness comprehends an attitude that destabilises normative positionalities to challenge binarisms and hierarchies that can privilege the experience of some bodies to the detriment of others. \u0000I employ a queer phenomenological and autoethnographic methodology to explore the fleeting disorientated moments that emerged in the live encounter with this artwork. This is to account for an analysis that considers self-narration and autobiographical notes of a queer researcher as queer methods appropriate to approaching disorientation as a queer affective experience. I argue that my physical and affective positionality in relation to the two projective moving images located in the art gallery affected the other bodies I shared the space with, leading to the necessity of also employing a besideness attitude and demonstrating how distance and proximity from objects can only be understood if in relation to each other.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128861128","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}
American post-apocalyptic horror series The Walking Dead (2010-2022) has been accused of both killing off out queer characters and explicitly explores a world that recreates fascist masculinity (Gencarella, 2016) and heteropatriarchal gender roles (Sugg, 2015). However, the fan favorite Daryl Dixon (Norman Reedus) presents an opportunity for queer spatiality which disrupts the dichotomy of queer/heterosexual. Dixon follows a queer narrative trajectory, largely outside of heterosexual relationships and estranged from his family of origin. The show’s treatment of the character reflects queer masculinities which develop outside of heteropatriarchy, based in a queer process of becoming, frequently seen among AFAB butch lesbians, non-binary, and transmasculine folx. Through his proximity to out queer characters on screen and role as the protector of the group, Daryl is spatially oriented (Bradbury-Rance, 2019;Ahmed, 2006) both within the group and his own body in varying degrees of distancing. Dixon’s role outside of a dominant gendered framework as well as his tendency to distrust models of collectivist structures which replicate American capitalist society give primacy to a queer anti-establishment positionality. The privacy to which Dixon’s sex life has been shielded from view highlights the ways queer readings have influenced the show and present Dixon with queerer affect. For example, the fandom around Dixon representing an asexual or gay character caused the writers to avoid showing Daryl kiss character Leah on screen in season 10 (Stone, 2021), instead foregrounding looks and close up shots by a fireplace which are typically reserved for reading lesbian desire on screen (Bradbury-Rance, 2019).
{"title":"Butch Orientations: Locating Queerness in Daryl Dixon from The Walking Dead","authors":"Sam Tabet","doi":"10.15664/fcj.v20i0.2519","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2519","url":null,"abstract":"American post-apocalyptic horror series The Walking Dead (2010-2022) has been accused of both killing off out queer characters and explicitly explores a world that recreates fascist masculinity (Gencarella, 2016) and heteropatriarchal gender roles (Sugg, 2015). However, the fan favorite Daryl Dixon (Norman Reedus) presents an opportunity for queer spatiality which disrupts the dichotomy of queer/heterosexual. Dixon follows a queer narrative trajectory, largely outside of heterosexual relationships and estranged from his family of origin. The show’s treatment of the character reflects queer masculinities which develop outside of heteropatriarchy, based in a queer process of becoming, frequently seen among AFAB butch lesbians, non-binary, and transmasculine folx. Through his proximity to out queer characters on screen and role as the protector of the group, Daryl is spatially oriented (Bradbury-Rance, 2019;Ahmed, 2006) both within the group and his own body in varying degrees of distancing. \u0000Dixon’s role outside of a dominant gendered framework as well as his tendency to distrust models of collectivist structures which replicate American capitalist society give primacy to a queer anti-establishment positionality. The privacy to which Dixon’s sex life has been shielded from view highlights the ways queer readings have influenced the show and present Dixon with queerer affect. For example, the fandom around Dixon representing an asexual or gay character caused the writers to avoid showing Daryl kiss character Leah on screen in season 10 (Stone, 2021), instead foregrounding looks and close up shots by a fireplace which are typically reserved for reading lesbian desire on screen (Bradbury-Rance, 2019). ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115985994","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}
This video essay places Bit (Brad Michael Elmore, 2019, US) and Seance (Simon Barrett, 2021, US) in conversation. I show how both of these queer horror films move beyond the questions of representation and investigate how the very genre of horror can be utilised to reflect ideas of queerness. I incorporate Robin Wood’s psychoanalytical perspective on the monster reflecting what society represses. However, unlike the films Wood analysed in the 70s/80s, these modern films do not just relegate queerness to subtext. Queerness is now present, alive, in the text. And here, I interrogate how the role of the monster in both films reflects ideas of queer lived experience.
{"title":"The Queer Monster: Putting Séance and Bit in Conversation","authors":"Cameron Mumford","doi":"10.15664/fcj.v20i0.2520","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2520","url":null,"abstract":"This video essay places Bit (Brad Michael Elmore, 2019, US) and Seance (Simon Barrett, 2021, US) in conversation. I show how both of these queer horror films move beyond the questions of representation and investigate how the very genre of horror can be utilised to reflect ideas of queerness. I incorporate Robin Wood’s psychoanalytical perspective on the monster reflecting what society represses. However, unlike the films Wood analysed in the 70s/80s, these modern films do not just relegate queerness to subtext. Queerness is now present, alive, in the text. And here, I interrogate how the role of the monster in both films reflects ideas of queer lived experience. \u0000 ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115354375","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}
Near the end of the episode “The First Day” of Dana Terrace’s The Owl House, the series’s protagonist, Luz, receives permission to study every subject. Having overthrown her magic school’s traditional one-track system, Luz confesses, “Maybe it’s crazy but I wish I could study a little bit of everything.” At this wish, Luz finds herself suspended in space; magic adorns her in motley-colored garments, indicative of her intended multitrack pursuits, against an abstract backdrop of blue, purple, and pink: unmistakably, at least for this bisexual viewer, the color of the bisexual flag. Even before Terrace confirmed the character’s bisexuality, I suspect many bisexual viewers already knew. My knowledge was excitement; I felt an intense energy that responded simultaneously to what I witnessed on screen and within myself. Later I thought of coenesthesia, “the potential and perception of one’s whole sensorial being” (Carnal Thoughts 67), and how this scene’s coenesthesia collides with Luz’s realizing herself in terms of her multifaceted potential. Given that “we extend space differently based on how we are orientated in the world” (“Questions” 207), I seek to explore how this scene posits bisexuality as multi-directional and interdisciplinary. Furthermore, I seek to examine how, from my perspective as a twenty-some-year-old bisexual viewer who wishes she had this show years ago, this scene also speaks to bisexual temporal orientations. How can we read this scene, and ourselves, in relation to the history of bisexuality, traditionally located “in the past or future, but never in the present tense” (Angelides 194)?
在Dana Terrace的《猫头鹰之家》(the Owl House)的“第一天”(the First Day)这一集的结尾，该剧的主角Luz获得了学习所有科目的许可。在推翻了她的魔法学校传统的单轨系统后，卢兹承认，“也许这很疯狂，但我希望我能学习每一种东西。”在这个愿望中，卢兹发现自己悬浮在太空中;魔术用五颜六色的衣服装饰她，表明她有意多轨追求，在蓝色、紫色和粉红色的抽象背景下:毫无疑问，至少对这个双性恋的观众来说，这是双性恋旗帜的颜色。甚至在泰瑞斯证实这个角色是双性恋之前，我怀疑很多双性恋观众已经知道了。我的知识令人兴奋;我感到一种强烈的能量，与我在屏幕上看到的和我内心看到的同时产生了反应。后来我想到了通感，“一个人的整个感官存在的潜力和感知”(《肉体思想》67)，以及这个场景的通感是如何与Luz在多方面的潜力方面实现自我的冲突的。鉴于“基于我们在世界上的定位，我们以不同的方式扩展空间”(“问题”207)，我试图探索这一场景如何将双性恋设定为多向和跨学科的。此外，作为一名二十多岁的双性恋观众，我希望自己几年前就能看到这个节目，我试图从我的角度来研究，这个场景如何也说明了双性恋的时间取向。我们如何阅读这个场景，以及我们自己，与双性恋的历史有关，传统上定位于“在过去或未来，但从来没有在现在时态”(Angelides 194)?
{"title":"“I’m gonna study everything!”: Bisexual Orientations in Dana Terrace’s The Owl House","authors":"Lindsey Pelucacci","doi":"10.15664/fcj.v20i0.2516","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2516","url":null,"abstract":"Near the end of the episode “The First Day” of Dana Terrace’s The Owl House, the series’s protagonist, Luz, receives permission to study every subject. Having overthrown her magic school’s traditional one-track system, Luz confesses, “Maybe it’s crazy but I wish I could study a little bit of everything.” At this wish, Luz finds herself suspended in space; magic adorns her in motley-colored garments, indicative of her intended multitrack pursuits, against an abstract backdrop of blue, purple, and pink: unmistakably, at least for this bisexual viewer, the color of the bisexual flag. Even before Terrace confirmed the character’s bisexuality, I suspect many bisexual viewers already knew. \u0000My knowledge was excitement; I felt an intense energy that responded simultaneously to what I witnessed on screen and within myself. Later I thought of coenesthesia, “the potential and perception of one’s whole sensorial being” (Carnal Thoughts 67), and how this scene’s coenesthesia collides with Luz’s realizing herself in terms of her multifaceted potential. Given that “we extend space differently based on how we are orientated in the world” (“Questions” 207), I seek to explore how this scene posits bisexuality as multi-directional and interdisciplinary. Furthermore, I seek to examine how, from my perspective as a twenty-some-year-old bisexual viewer who wishes she had this show years ago, this scene also speaks to bisexual temporal orientations. How can we read this scene, and ourselves, in relation to the history of bisexuality, traditionally located “in the past or future, but never in the present tense” (Angelides 194)?","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127405276","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}
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