Pub Date : 2022-11-01DOI: 10.1177/14647001221128247
S. Thornham
This article examines the cinema of Dutch feminist filmmaker Marleen Gorris in the light of Julia Kristeva's concept of ‘Women's Time’ and of more recent attempts to conceptualise a temporality that is lived ‘in the feminine’ but is not, as Kristeva's is, either outside historical time – as cyclic and/or monumental – or aligned to the repetitive drudgery of domestic labour. Drawing on Lisa Baraitser's concept of ‘unbecoming time’, a time that ‘will not unfold’ but is lived as endurance, as ‘staying beside others’, and as care, it argues that Gorris's films seek to depict such a temporality. The article first explores the shifting engagements of feminist theory with concepts of time and the relationship of these to ideas of subjectivity and narrative, in particular cinematic narrative. It then examines the cinema of Marleen Gorris in the light of these concepts, focusing on three of her films that span a twenty-five-year period: her second film, Broken Mirrors (1984) ; Antonia’s Line (1995) , her fourth film and winner of the 1996 Oscar for Best Foreign Language Film; and her most recent and possibly last film, Within the Whirlwind (2009). It gives most attention to Within the Whirlwind. In many ways, Gorris's most ambitious film, it is also her least discussed, and of her films, the one that focuses most directly on historical time.
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Pub Date : 2022-10-05DOI: 10.1177/14647001221127144
Sama Khosravi Ooryad
This article offers a theoretical account of the figure of the ‘Dadkhah mother’, the ‘justice-seeking mother’, by highlighting her historical, political and feminist significance in contemporary Iran and beyond. By drawing on a conceptual analysis of visual images, oral and written history and social media posts, I outline the key qualities of the figure of the Dadkhah mother and her longstanding activism and solidarity-building practices. I elaborate on what I call ‘transnational coalitional mothering’ and ‘digital dadkhahi’. The article builds on feminist theorisations of mothering, resistance, affective (mediated) solidarity and conditions of (un)grievability to argue that the multiple mediatised, resistant and coalitional strategies of the Dadkhah mothers of Iran offer radical alternative modes of thinking about mothering and (elderly) women's resistance. Such modes acknowledge these women's undeniable contribution to activism and to doing gender and politics across borders, beyond patriarchal motherhood, familial kinship ties, Western-centric co-optive voices and hierarchical framings, and in direct opposition to authoritarian spatiotemporal nation-building myths and impositions.
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Pub Date : 2022-09-26DOI: 10.1177/14647001221119993
Magda Schmukalla
In this article, I ask how memory of historical trauma, which spreads across generations and which resists the comfort of linear temporality, familiar ritual and narrative, might feel, and what it might look and sound like. How might the memory of trans-generational trauma be shared and expressed? What could be ethical ways of engaging with the presence of such traumatic experiences? The article explores these questions by looking at how experiences of the womb make possible a sensual re-engagement with painful and unacknowledged historical experiences and so allow for a feminine response or sense of ‘response-ability’ to the presence of trans-generational trauma. It further shows how such a feminine response to trauma is enacted in an artistic speech, which does not strengthen present identities but makes tangible their decomposition. I develop this argument by reading diffractively through a web of conceptual and sensual entanglements, which emerge from excerpts from Karen Barad's quantum theory, Bracha Ettinger's psychoanalytic theory, Joanna Rajkowska's artwork Born in Berlin and my personal presence in the text. The article emphasises the importance of affect as a non-discursive source for the memory of unclaimed traumatic experiences, but it also shows how an embodied recognition of such affects leads to ruptures in discourse and to alternative forms of trauma's presence in speech and thought.
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Pub Date : 2022-09-15DOI: 10.1177/14647001221119995
Rachel Loewen Walker
Misogyny is a weighty term. Its affective power invokes spectres of rape, sexual assault, hate-fuelled insults and gas-lighting. Its presence in nearly every culture on the planet haunts our pasts and frames our presents. Aiming to build an understanding of misogyny for our future social justice efforts, I look to Kate Manne’s Down Girl: The Logic of Misogyny, where she dusts off an old definition of misogyny as the hatred of women to describe it as the enforcement branch of a patriarchal society, a renewed engagement for feminists and activists alike. In particular, this framing provides opportunities to examine misogyny from an intersectional lens, including its intersections with race, gender and sexuality. For example, through stories such as that of Pamela George, an Indigenous woman from Regina, Saskatchewan who was murdered in 1995, I argue that it is crucial that we recognise the collusion between settler colonialism and misogyny. Or in the case of transphobic comedian Dave Chapelle, we must understand the interplay of heteronormativity and cisnormativity in propping up transmisogyny. Consequently, I argue that an intersectional logic of misogyny provides not only a shift but a tipping point for feminist and queer movements to come.
厌女症是一个很重的词。它的情感力量唤起了强奸、性侵犯、仇恨引发的侮辱和煤气灯的幽灵。它几乎存在于地球上的每一种文化中，困扰着我们的过去，塑造着我们的现在。为了为我们未来的社会正义努力建立对厌女症的理解，我参考了凯特·曼恩(Kate Manne)的《堕落女孩:厌女症的逻辑》(Down Girl: The Logic of misogyny)。在这本书中，她重新将厌女症定义为对女性的仇恨，将其描述为父权社会的执行分支，是女权主义者和活动人士的新参与。特别是，这种框架提供了从交叉视角审视厌女症的机会，包括它与种族、性别和性的交叉。例如，通过帕梅拉·乔治(Pamela George)的故事(她是萨斯喀彻温省里贾纳的一名土著妇女，于1995年被谋杀)，我认为，我们必须认识到移民殖民主义与厌女症之间的勾结。或者以恐跨性别喜剧演员戴夫·夏贝尔(Dave Chapelle)为例，我们必须理解异性恋规范性和顺性规范性在支持跨性别女性症方面的相互作用。因此，我认为厌女症的交叉逻辑不仅为女权主义和酷儿运动的到来提供了一个转变，而且是一个转折点。
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Pub Date : 2022-08-01DOI: 10.1177/14647001221085910
Arti Sandhu
Through an ethnographic study of online saree pacts and social media groups, this article charts the emergence of digital saree storytelling as women from India and the global South Asian diaspora post stories about their personal and professional lives while also talking about their sarees. The article examines how saree stories are told and consumed in these online spaces, and the role new media plays in encouraging individual and collective self-expression through fashion. In doing so, it highlights how saree pacts allow for alternative models of fashion opinion leadership and style to emerge in ways that are uplifting and empowering for women who are otherwise underrepresented in print and popular fashion media. It argues that such sites are critical spaces shifting the narrative around women in the Global South from victimhood to pleasure. Additionally, saree pacts represent a new form of digital community formation centred around the appreciation of traditional fashion, which can alter our perception of the intersection of traditional fashion and feminism while also decolonising fashion's existing Eurocentric frameworks.
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Pub Date : 2022-05-12DOI: 10.1177/14647001221098817
N. Minai
There are few sartorial ensembles as heavily signified as masculine as a suit. This article focuses on the suit within queer fashion digital cultures and spaces to explore how butch of colour digital fashion suits up to offer us different ways to think about masculinity. Intervening in the erasure of women of colour in histories of fashion – including menswear – and histories of sexuality – butch, dapper, tomboy, dandy – I argue that butch digital fashion works as a site and composition of flesh, fabric and feeling that reworks masculinity as a project of embodiment. I look at three interwoven dimensions of butch digital fashion – aesthetic process, texture as feeling and spatial imaginations – attending to the themes of fantasy, desire and pleasure. I situate butch within and between fashion studies and media studies to offer butch as a relation, practice, orientation and site of embodiment to think about being and becoming, about the body politics of space and feeling, as matters of race, sexuality, class and gender – and the materialities of race, sexuality, class and gender, mediated by the global, and as the global by the digital. Digital butch fashion is, at once, a visual culture, a creative visual space, a resource of queer fantasy and an aesthetic process. It is messy, tense and fraught with the politics of race, colonialism and class, yet at the same time, dense with possibility, pleasure and eroticism. Butch of colour fashion offers frames and forms for rethinking and remaking masculinity as a sign of a body, as a category of personhood, as a set of practices and feelings made coherent by processes of embodiment.
很少有服装组合能像西装一样充满男子气概。这篇文章聚焦于酷儿时尚数字文化和空间中的西装，探索色彩的男男性数字时尚如何为我们提供思考男性气质的不同方式。在时尚史（包括男装）和性史（男同性恋、衣冠楚楚、假小子、花花公子）中，有色人种女性被抹去，我认为，男同性恋数字时尚是一个由肉、织物和感觉组成的网站，将男性气概重新塑造成一个具体的项目。我观察了布奇数字时尚的三个交织维度——审美过程、质感和空间想象——关注幻想、欲望和愉悦的主题。我将布奇置于时尚研究和媒体研究之间，将布奇作为一种关系、实践、取向和化身的场所，思考存在和成为，思考空间和感觉的身体政治，作为种族、性、阶级和性别的问题，以及种族、性性、阶级、性别的物质性，由全球和数字媒介来调节。数字布奇时尚既是一种视觉文化，也是一个创造性的视觉空间，是一种酷儿幻想的资源，也是一种审美过程。它混乱、紧张，充满了种族、殖民主义和阶级政治，但同时又充满了可能性、愉悦和色情。Butch of color时尚为重新思考和重塑男性气质提供了框架和形式，将其作为身体的标志，作为人格的一个类别，作为一套通过具体化过程而变得连贯一致的实践和感受。
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Pub Date : 2022-05-09DOI: 10.1177/14647001221085919
Michele White
Leandra Medine indicates that she wants the Man Repeller multi-author blog to ‘serve as an open forum for women to draw their own conclusions’ instead of making ‘any sort of feministic statement’. Medine renders feminism as amorphous and an individual choice but she has been widely lauded for offering a feminist engagement in fashion. Her practices and position, as I argue throughout this article, allow her to fashion feminism, including associating feminism with the man repeller style and replacing aspects of second wave and rights-based feminisms with the purportedly more equitable and liberating website ethos of choice and equality feminism. Yet in replacing ‘feministic’ critiques with promises of stylish cultural change and clothing that reportedly repels men, Medine and other Man Repeller authors elide how systemic oppression functions. This ambivalent relationship to feminism, and dearth of intersectional advocacy, prompted a backlash in 2020. Critics interrogated Medine's facile statement about #BlackLivesMatter, the company's lack of diversity and the unsuccessful restructuring of the blog. As a means of analysing Man Repeller, I employ textual analysis, feminist and queer literature and media theory. I define fashioning feminism as a collaborative and ongoing process of producing feminist positions and thinking, including the negation of certain forms of feminism. I assert that attending to the fashioning of feminism can foreground central and developing feminist theories; the appeal, unstylishness and effacement of feminism; and the connection between style and politics. This includes readers’ interrogations of Man Repeller's politics, which are occurring along with contemporary examinations of racism. Since fashioning feminism is a collaborative and ongoing process of producing feminist positions and thought, engaging with its concepts and debates can further the critical study of feminism, nurture feminist conversations and advocate for social change.
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Pub Date : 2022-04-20DOI: 10.1177/14647001221085906
Lise Shapiro Sanders, Ilya Parkins
Though scholars have built a vibrant literature on fashion media (e.g. Rocamora, 2009, 2013, 2017 2012; Bartlett et al., 2013; Van De Peer, 2014; Van De Peer, 2015), there has been near silence on the issue of fashion media among feminist critics, with a few exceptions (e.g. Rabine, 1994; Lewis, 1997, 2013, 2015; Pham, 2011; Pham, 2014; Pham, 2015; Findlay, 2019; Titton, 2019; Filippello, 2020). In particular, there has been little attention paid to fashion media as a feminist theoretical issue. Yet, as the articles gathered in this collection make clear, fashion media resonate with a number of contemporary feminist theoretical concerns, including temporality, materiality, embodiment, neoliberalism and racialisation, as well as with debates over postfeminism and popular feminism (Banet-Weiser et al., 2020). Over the last two decades in particular, fashion media have seemed to ‘democratise’ with the rise of street-style features and the prominence of fashion blogging, and the industry has very vocally – though perhaps not substantively – joined cultural conversations about diversity and inclusion. All of this makes for a moment ripe for feminist scholars. In facilitating this feminist theoretical intervention into conversations about fashion media, this special issue follows from our co-edited issue of the Journal of Modern Periodical Studies (JMPS, 2020) on the theme of ‘Fashion in the Magazines’, which covered the period from the late nineteenth to the mid-twentieth centuries. In that issue, we brought together six articles on diverse topics, which treated the appearance of fashion across fashion magazines such as US Vogue and Harper’s Bazaar and the French periodical La Gazette du Bon Ton, magazines not geared towards fashion such as the British humour magazine Punch and the department store periodical Charm, as well as daily newspapers such as the Chicago Tribune and the New York Evening Sun, among others. Most of the articles in that excellent collection were implicitly subtended by feminist theoretical work: on representation, historicity and materiality, for
虽然学者们已经建立了一个充满活力的关于时尚媒体的文献(例如Rocamora, 2009, 2013, 2017 2012;Bartlett et al.， 2013;Van De Peer, 2014;Van De Peer, 2015)，除了少数例外，女权主义评论家对时尚媒体问题几乎保持沉默(例如Rabine, 1994;Lewis, 1997,2013, 2015;范教授,2011;范教授,2014;范教授,2015;芬德利,2019;Titton, 2019;Filippello, 2020)。尤其是时尚媒体作为一个女权主义的理论问题，很少受到关注。然而，正如本作品集中收集的文章所表明的那样，时尚媒体与许多当代女权主义理论问题产生了共鸣，包括时间性、物质性、具体化、新自由主义和种族化，以及关于后女权主义和流行女权主义的辩论(Banet-Weiser等人，2020)。特别是在过去的二十年里，随着街头风格的兴起和时尚博客的突出，时尚媒体似乎已经“民主化”了，这个行业已经非常明确地——尽管可能不是实质性的——加入了关于多样性和包容性的文化对话。所有这些都为女权主义学者提供了一个成熟的时机。为了促进女权主义理论对时尚媒体对话的干预，本期特刊是我们共同编辑的《现代期刊研究杂志》(JMPS, 2020)的主题，主题是“杂志中的时尚”，涵盖了19世纪末到20世纪中叶的时期。在那期杂志中，我们汇集了六篇不同主题的文章，讨论了时尚的外观，包括时尚杂志，如美国的《Vogue》和《Harper’s Bazaar》，法国的《La Gazette du Bon Ton》，非时尚杂志，如英国幽默杂志《Punch》和百货公司期刊《Charm》，以及日报，如《芝加哥论坛报》和《纽约太阳报晚报》等。在那本优秀的文集中，大多数文章都隐含着女权主义的理论工作:关于代表性、历史性和物质性
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Pub Date : 2022-04-19DOI: 10.1177/14647001221085915
Sara Shroff
Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta (tunic) with matching shalwar (loose trousers) and an ajrak (block-printed) shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and international stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies.
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Pub Date : 2022-04-18DOI: 10.1177/14647001221085944
Jade Crimson Rose Da Costa
The study of Queer Necropolitics has established that white futurity regularly relegates trans women of colour to zones of death and sacrifice. What has received less attention, however, is how trans women of colour use art to challenge these murderous assemblages. A primary example of this is Shraya and Lee's (2019) graphic novel Death Threat, which re-envisions a series of transmisogynistic hate letters that Shraya received in 2017. Taking Death Threat as my point of entry, I ask how trans women of colour can repair death into live-affirming art, giving substantive focus to the text's tendency to conflate the literal death of the body with the ‘social death’ of being misgendered. From here, I explore how Death Threat transforms the death worlds of trans women of colour into sites of agency and, in so doing, troubles and expands the analytical boundaries of Queer Necropolitics.
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