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In mainstream media, gays and lesbians of color are either woefully present or predictably absent. The litany of black gay and lesbian characters in Hollywood films and network television reads like its own form of blackface. They range from the burly, black “bulldagger” as whore house madam in the 1933 film The Emperor Jones (starring Paul Robeson) to the predatory lesbian vamp in Spike Lee’s 1983 She’s Gotta Have It ; from Eddie Murphy’s ultracamp Miss Thing hairdresser on NBC’s Saturday Night Live to the snap! queen duo on Fox TV’s In Living Color. These relentless stereo types are part of

Shari Frilot is a filmmaker and curator whose creative practice has been driven by sustained explorations of sexuality, technology, desire, cosmic and subatomic structures, mixed-raced identity, and chaos. She has often expressed her modus operandi in the following terms: “It’s impossible to see a cloud when you’re in the middle of it. You have to move outside of the cloud to really get a sense of it.” By continually shifting between the outside and inside of a given framework—whether institutional or personal—Frilot has developed keen modes of challenging conventional structures for understanding and engaging the moving image.

Shelley Niro is widely known for her ability to explode myths, transgress boundaries and embody the ethos of her matriarchal culture in a wide variety of mediums including photography, installation, film and painting. Niro creates photographic series that emphasize the medium?s inherent capacity for narrative and representation. She pushes the limits of photography by incorporating Mohawk imagery, re-appropriating traditional stories such as Skywoman and The Peacemaker, and by focusing on contemporary subjects with wit, irony and campy humor. Niro marries portraiture, performance art and satire by having her subjects and herself perform for the camera in ways that gently invite audiences to rethink their beliefs and preconceptions about indigenous peoples and themselves. With compassion and deep insight, Niro opens up the fault lines and desires of gender, sexuality and culture to create images of freedom from the status quo in representation. Photography was a medium that helped subjugate indigenous peoples, but in Niro?s revolutionary hands it empowers

In lieu of an abstract, here is a brief excerpt of the content: introduction While digital games hold promise for learning and socialization, emerging research and popular debates have critiqued inclusive access to these practices and literacies. This essay examines digital games for their potential to integrate diverse individuals and communities for learning and socialization, especially in online play and broadcasting of gameplay. For example, a level of cultural competency can be attained in well-developed games to overcome essentialist notions and assumptions about women and people of color. Using Black Cyberfeminism as a theoretical lens to make sense of players’ experiences, and Racialized Pedagogical Zones (RPZs) as an analytical frame to situate digital games’ entrenched ideologies of race and racism, we contend that games offer highly unproblematized depictions but have extreme potential for cultural competency. We further utilize Communities of Practice (CoP) as a frame for understanding and interrogating equitable access to community-supported collaborative learning and mastery within game culture, more broadly, and interest-driven guilds, clans, and affinity spaces, more specifically. In our extension of CoP, we integrate inclusive to highlight the resistive and resilient strategies employed by supportive communities for diverse women in addressing the systematic nature of oppression and power relations that undergird communities of practice, particularly in marked gendered spaces such as gaming. Marginalizing practices in game culture have become more widely publicized and understood in recent years, most notably because of high profile incidents of harassment. However, representations of women and racial or ethnic minorities by the gaming industry have also been problematic historically. For instance, since the 1980s video games have been critiqued for the hypersexualization of women and women are often the victims of misogynistic [End Page 112] vitriol, as the incidents around Gamergate have exposed. People of color are featured in largely stereotypical ways and are all but absent from the gaming industry. Queer gamers and gamers with dis/abilities are almost entirely absent and, when present, are not depicted fairly. This differential treatment appears to have a symbiotic relationship with the exclusion of marginalized players. As researchers have noted, Internet technologies and virtual communities operate in a manner that benefits privileged identities. These unequal power relations are accepted as legitimate and are embedded in the cultural practices of digital technology. Nevertheless, many gamers—most notably women—have resisted this perpetual state of inequity and the dominant narrative of power, control, and exclusion. Although some in gaming contend that these are not overt practices of exclusion, many players and scholars acknowledge the existence of symbolic exclusion, where those who are valued have the privilege to define legitimate practice and participation within gaming culture. The unequal power relations operating within the gaming community influence not only what gamers consume but also what they learn about themselves and others. Further, the racialized and gendered consumptive practices through gaming are often taken for granted. Commercial gaming culture is, with few exceptions, complicit in these exclusionary practices by continuing to design at a deficit, despite these increasingly apparent realities. But many gamers have begun to resist and challenge not only the imagery but also the practices that sustain white, masculine privilege within gaming and technology in general. While these practices have yet to reach a critical mass to disrupt the power structure operating within game culture as a whole, they exist counter to the mainstream and empower the marginalized operating within them. While the literature will provide an overview of these practices, our purpose is to privilege the resistance and resilience strategies of the marginalized to disrupt the traditional narrative while they empower themselves. We utilize Kimberlé Crenshaw’s framework of intersectionality to reflect on identity, recognizing that “the problem with identity politics is not that it fails to transcend difference, as some critics charge, but rather the opposite—that it frequently conflates or ignores intragroup differences.” We also want to caution that while we focus on players who have historically been the marginalized in gaming culture and game research, we recognize that men...

"Although the fields of media studies and digital humanities are both well established, their overlaps have not been examined in depth. This comprehensive collection fills that gap, giving students, scholars, and media studies practitioners a cutting-edge guide to understanding the array of methodologies and projects operating at the intersection of digital humanities, computing, and culture. Topics covered include: networks; interfaces; media and culture at scale; procedures, programming, code; memory, digitization, and new media; and hacking, queering, and bending."--Provided by publisher

It is the twenty-first century, and there is a black lesbian director and producer making pornography! Porn, a genre of film and media that in the last quarter of the twentieth century many black feminist lesbians viewed as capable only of representing and manifesting violence, abuse, and shame. In this essay I examine one of the early works of the black lesbian filmmaker Shine Louise Houston, In Search of the Wild Kingdom (2007), to explore how and why we have arrived at what is a transition from Blues Legacies and Black Feminisms to Pink and White Productions, and from New

In the 1990s I lived in New York City. I moved to New York City shortly after graduating from Oberlin College, in Ohio. I lived there for almost a de cade, and during that time I was very actively engaged in continuing my pursuit of a career in photography. Photography was my first form of visual art going back to junior high school. I enrolled in the New York University International Center for Photography master’s program because I really wanted to understand what it was to be a photographer. At that time I was very interested in street photography.

I grew up on the West Side of Chicago, where it was infested with gangs and drugs and violence. But I was always the type of person that wanted to be better than my environment, and I was also the type of person that didn’t want people to underestimate me because of where I came from. And so I made up in my mind, even as a young child, that I wanted to be somebody. I love making movies. I’ve wanted to be who I am ever since I saw Sidney Lumet’s movie The Wiz (1978).

In 2005 Angela Robinson released her spy spoof, D.E.B.S. (2004). Robinson first realized the project as the short film D.E.B.S. (2003) through a training program with POWER UP (Professional Organization of Women in Entertainment Reaching Up), the only 501(c)(3) nonprofit film production company and educational organization for women and the GLBTQ community. In 2005 she also became the second black woman and first black lesbian to direct a studio feature, the Disney film Herbie Fully Loaded starring Lindsay Lohan. This moment marked the beginning of the black lesbian media maker hyphenate as Angela Robinson moved to television and began working on The L Word as a writer, director, and eventually producer. Patricia White's essay in this section, "'Invite Me In!': Angela Robinson at the Hollywood Threshold," offers an in-depth exploration of her career trajectory.

The Mammy has been in our field of vision as a popular icon representing black womanhood for more than a century in literature, film, and television and in consumer and material culture.¹ Described as an asexual, rotund slave of older age whose sole responsibility is to take care of her master’s children, Mammy is a beloved character who represents all that is nurturing and maternal. She is dark-skinned and boisterous and thought to have mannish features such as large feet and hands. Mammy wears a large skirt, hiding her sex, and covers her nappy hair with a bandanna or handkerchief.

This article attempts to review and synthesise the main debates in critical geography across both the Latin American and Anglo-Saxon traditions. By reviewing the main theoretical approaches including from political ecology, feminist geography, post-colonial and de-colonial approaches and the geography of motilities and migration, the aim of this article is to delineate a pan-Latin American approach to critical geography. We also consider why some approaches and topics have received greater or lesser attention in Latin American scholarship. Finally, we emphasize the importance of establishing a new transnational dialogue based on regionally situated critical research that questions and proposes new pathways in the production of knowledge from and about the region. We suggest this approach be nested in critical theory and committed to local political and territorial struggles.

Today’s explosion of Swedish films made by and about transgender people is sometimes considered in a vacuum. This article explores the long history of cross-gender performance in Swedish cinema and the relationship of these new films to older traditions. In this article, I will outline the contours of cross-gender performance in Swedish films from the 1908 to today, using some exemplary films to display the variety of styles, genres, and meanings that can be found: the short dance film Dances Through the Ages ( Skilda tiders danser , Walfrid Bergström, 1909); the swashbuckler Lasse-Maja (Gunnar Olsson, 1941); the romantic comedy Up With Little Märta ( Fram för Lilla Märta , Hasse Ekman, 1945); the dramatic art film The Magician ( Ansiktet , Ingmar Bergman, 1958); the recent romantic comedy Cockpit (Mårten Klingberg, 2012); and the trans art film Everything Falls Apart ( Nånting måste gå sönder , Ester Martin Bergsmark, 2016). I will show that the two main shifts in Swedish cinema’s representation of cross-gender performance occurred in the mid-1950s and in the 1990s, due to social changes and changes in the structure of the Swedish film industry. In Swedish cinema, as elsewhere, cross-dressing has never meant any one thing, so we must attend to the specific contexts of its expression in order to understand what it meant.

You've heard the stories about the dark side of the internet -- hackers, #gamergate, anonymous mobs attacking an unlucky victim, and revenge porn -- but they remain just that: stories. Surely these things would never happen to you. Zoe Quinn used to feel the same way. She is a video game developer whose ex-boyfriend published a crazed blog post cobbled together from private information, half-truths, and outright fictions, along with a rallying cry to the online hordes to go after her. They answered in the form of a so-called movement known as #gamergate--they hacked her accounts; stole nude photos of her; harassed her family, friends, and colleagues; and threatened to rape and murder her. But instead of shrinking into silence as the online mobs wanted her to, she raised her voice and spoke out against this vicious online culture and for making the internet a safer place for everyone. In the years since #gamergate, Quinn has helped thousands of people with her advocacy and online-abuse crisis resource Crash Override Network. From locking down victims' personal accounts to working with tech companies and lawmakers to inform policy, she has firsthand knowledge about every angle of online abuse, what powerful institutions are (and aren't) doing about it, and how we can protect our digital spaces and selves.Crash Override offers an up-close look inside the controversy, threats, and social and cultural battles that started in the far corners of the internet and have since permeated our online lives. Through her story -- as target and as activist -- Quinn provides a human look at the ways the internet impacts our lives and culture, along with practical advice for keeping yourself and others safe online.

Women and racial/ethnic minorities account for a growing percentage of video game players in the USA. The economic future of the video game industry may, in part, depend on the industry's ability to adapt marketing efforts to appeal to the growing female and racial/ethnic markets. Contrary to these efforts, however, is advertisers' reliance on stereotypes in advertisements to quickly establish a common understanding and wide appeal to a mass audience. This study investigates how race and gender intersect in the stereotypical character depictions used to market video games to consumers. A systematic content analysis was carried out of 383 US magazine advertisements of console, mobile, and PC video games. Stereotyping and intersectionality literatures were used as theoretical guides for this research. Findings reveal that the marketing of video games in the USA upholds some longstanding media stereotypes of minorities and women, including that of the White male hero, submissive sexualized female, Asian ninja, and deviant Black male. The potential social and economic implications of the video game industry's reliance on character stereotypes for the marketing of video games are discussed.

Marie-Hélène Cousineau, qui regroupe des femmes inuits de la communauté d’Igloolik, utilise la vidéo pour démontrer l’importance de la femme inuit dans le développement et la cohésion de l’unité sociale et familiale de l’Arctique (passé, présent et futur). Soulignant la spécificité culturelle des femmes d’Igloolik, ainsi que la portée universelle de questions reliées par exemple à la maternité, au pouvoir et au potentiel des femmes qui sont considérées comme des agents de changement sociétal participant à la transmission et au renouvellement de la connaissance traditionnelle, les cinéastes d’Arnait ont participé à des projets novateurs (telle que l’initiative Live from the Toundra) où les outils technologiques (Internet, blogues, capsules vidéos, radio, satellite) ont servis à établir des ponts entre les di érentes communautés du Nord."

En réaction au féminicide autochtone au Canada et à l’inertie du gouvernement canadien, des groupes militants, des associations de familles et de proches des disparues ainsi que des groupes de femmes autochtones lancent régulièrement des actions commémoratives diverses. L’auteure a mené une enquête ethnographique lors de l’installation artistique commémorative Walking With Our Sisters présentée à Ottawa en 2015, projet réalisé par l’artiste métisse Christi Belcourt. Ainsi, l’auteure s’est interrogée sur la valorisation des femmes autochtones et leur prise de pouvoir au travers de ce processus. Elle remet en question la définition du féminisme occidental en prenant en considération les critiques formulées par les féministes autochtones

"The Routledge Companion to Media and Race serves as a comprehensive guide for scholars, students, and media professionals who seek to understand the key debates about the impact of media messages on racial attitudes and understanding. Broad in scope and richly presented from a diversity of perspectives, the book is divided into three sections: first, it summarizes the theoretical approaches that scholars have adopted to analyze the complexities of media messages about race and ethnicity, from the notion of 'representation' to more recent concepts like Critical Race Theory. Second, the book reviews studies related to a variety of media, including film, television, print media, social media, music, and video games. Finally, contributors present a broad summary of media issues related to specific races and ethnicities and describe the relationship of the study of race to the study of gender and sexuality"--Provided by publisher.

This book seeks to interrogate the representation of Black women in television. Cheers explores how the increase of Black women in media ownership and creative executive roles (producers, showrunners, directors and writers) in the last 30 years affected the fundamental cultural shift in Black women’s representation on television, which in turn parallels the political, social, economic and cultural advancements of Black women in America from 1950 to 2016. She also examines Black women as a diverse television audience, discussing how they interact and respond to the constantly evolving television representation of their image and likeness, looking specifically at how social media is used as a tool of audience engagement.

La perspectiva de género en el arte del Caribe colombiano se puede contextualizar con el movimiento feminista planetario. La comparación se establece en las creaciones de mujeres artistas de esta región, ya que subvierten, manifiestan y revelan con denotada libertad expresiva, no solamente sus inquietudes intimistas, sino toda una serie de cuestionamientos a las condiciones que culturalmente se le han impuesto a la mujer en el Caribe. Son dos generaciones diferentes; las primeras, analizadas en esta entrega, pueden ser catalogadas como pioneras de la perspectiva de género en el arte colombiano. Las segundas, consolidan problemáticas en apuestas individuales, de manera diaspórica y cada vez más comprometidas con el movimiento social de mujeres. En ambos casos lo hacen a través de las artes visuales, audiovisuales, performáticas e híbridas. Estamos ante artistas vanguardistas, de las artes visuales y performáticas en el Caribe colombiano; preferimos llamarlas, en ambos casos, visionarias. Gender perspective in the Colombian Caribbean art can be contextualized within the worldwide feminist movement. The comparison is established in the artwork of female artists from this region, as they subvert, demonstrate, and reveal with poignant expressive freedom, not only their intimate concerns, but a whole series of questions to the conditions that have been culturally imposed on women in the Caribbean. They come from two different generations. The first generation, analyzed in this installment, can be defined as the pioneers of gender perspective in Colombian art. The second generation consolidates issues through individual pledges in a diasporic way and increasingly committed to the social women’s movement. Both generations do this through performative, hybrid, visual and audiovisual art. These are avant-garde artists of the visual and performative art in the Colombian Caribbean. We prefer to call them, in both cases, visionaries.