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Thérèse Lamartine est bien connue des milieux féministes. Détentrice d’une maîtrise en études cinématographiques, elle a publié Elles, cinéastes... ad lib, en 1985, aux Éditions Remue-ménage, dans lequel elle présentait des réalisatrices de diverses origines, actives entre 1895 et 1981. En 2009, elle publiait Soudoyer Dieu, un roman scrutant la longue et inconsolable douleur d’un groupe de femmes après la tuerie de Polytechnique. Avec Le Féminin au cinéma, une petite plaquette consacrée aux films «de femmes» ou, comme elle le précise, aux films qui «sculptent un art du mieux-vivre la mixité dans nos sociétés ou [qui] débrident les stéréotypes et nous dérident à la fois», Lamartine ouvre les portes d’un monde cinématographique souvent méconnu et rend hommage à des femmes de cinéma, autant derrière que devant la caméra. En sortant ces femmes de l’ombre, elle met au jour un cinéma riche et original, mais méconnu.

Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.

In this deeply engaging account, Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood's representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Ind

Cheryl Dunye's 1996 film The Watermelon Woman earned a place in cinematic history as the first feature-length narrative film written and directed by an out black lesbian about black lesbians. This article examines how the film provides an important opportunity to mark the burgeoning genre of black queer documentary as a historiographical medium. The documentary film is a tool that highlights underexplored issues in black experience and provides a cultural site for imagining new possibilities for black lesbian subjectivity and creating innovative approaches to representing sexuality in black filmmaking.

Multiple expressions of sovereignty beyond a narrow legal interpretation are discussed through the artwork of contemporary Iroquois artists, G. Peter Jemison (Seneca), Alan Michelson (Mohawk), Samuel Thomas (Cayuga), and Marie Watt (Seneca). Michelson's installation at the Massena homeland security border checkpoint between the United States, Canada, and the Mohawk Nation, titled The Third Bank of the River, draws on the Guswentah or Two Row Wampum underscoring the problematic yet ongoing assertion of Haudenosaunee sovereignty. A link is made between the work of these artists and the 2008 Courtney Hunt film, Frozen River, based on the cultural and political understanding of the Two Row Wampum. The Guswentah is discussed as a demonstration of sovereignty and is historicized through Cayuga chief Deskaheh's call for the recognition of Haudenosaunee sovereignty at the League of Nations in Geneva, in 1923, John Mohawk's 1978 Basic Call to Consciousness, and more recently, Taiaiake Alfred's 1999 Peace, Power, Righteousness. These artists demonstrate the critical role they play in the ongoing formation of sovereignty as a visual or aesthetic issue in conjunction with its historic legal positioning.

The popularity of massively multiplayer online role-playing games (MMORPGs) has created a unique, heavily populated virtual reality wherein player characters are explicitly differentiated by the physical characteristics of their avatars. To investigate the way real-life race perceptions influence these adopted player-character identities, we invited MMO players to participate in an online survey. In this study, we are particularly interested in overlap, or deviation, between real-life racial perceptions and the perception of fictional fantastic races (elves, dwarves). On the basis of the data collected, we found that whether players consciously associate themselves with their avatars or consciously dissociate themselves from their avatars, real-life racial tendencies unconsciously manifest through players' choices of their avatars and in their interactions with other players within the game environment.

From Nausicaa to Sailor Moon, understanding girl heroines of manga and anime within otaku culture.

Résumé livre : The Cultural Work of Photography in Canada is an in-depth study on the use of photographic imagery in Canada from the late nineteenth century to the present. This volume of fourteen essays provides a thought-provoking discussion of the role photography has played in representing Canadian identities. In essays that draw on a diversity of photographic forms, from the snapshot and advertising image to works of photographic art, contributors present a variety of critical approaches to photography studies, examining themes ranging from photography's part in the formation of the geographic imaginary to Aboriginal self-identity and notions of citizenship. The volume explores the work of photographs as tools of self and collective expression while rejecting any claim to a definitive, singular t... Source: Publisher

Nadia Myre is a multidisciplinary artist whose work explores themes of language, culture, and memory, and who sources the culture of her Algonquin ancestors as a way of confronting contemporary realities. This monograph provides a comprehensive first look at this Montreal-based artist's remarkable career

Though research examining violence in video games (VGs) and its potential real-world effects has been a target of academic attention, content analysis of demographical marginalization in VGs has not been as prolific. What little research there is reveals a pronounced absence and stereotyping of women and racial or ethnic minorities but ignores queer content altogether. This work explores video game demographics through quantitative analysis of the demographic composition and stereotyping of characters from 30 popular VG titles. Findings of this study support that of past analyses, evidencing that the representation of women and racial minorities is both rare and stereotyped. Queer characters are also shown to be sparse and stereotyped. While past research has largely treated race and gender separately, this study shows that multiply marginalized groups, including queers, are even more underrepresented and stereotyped. The sociocultural implications of these findings are discussed and suggestions are made for future analysis and marketing.

The past decade has seen an explosion of lifestyle makeover television shows with audiences being urged to “renovate” everything from their homes, bodies, and children to their pets, a process that has seen the emergence of an army of lifestyle gurus on television advising us on what not to eat and what not to wear. While critical academic attention has largely focused on blockbuster reality television formats like Big Brother and Survivor, more recently a growing body of scholarship has started to focus on the “lifestyle turn” on television and the rise of the makeover format. To date much of the work on makeover television has focused on its role in the US and UK. However, in the past couple of years the lifestyle makeover show has become an increasingly global phenomenon with audiences around the world embracing everything from home renovation to plastic surgery makeover shows. This essay is concerned with examining the implications of the global dissemination of such modes of programming, associated as they are with ideologies of neoliberal individualism, self-surveillance and self-promotion, and with a strongly consumption-oriented aesthetic. It emerges out of a pilot study I have been conducting with Dr Fran Martin at the University of Melbourne as a preliminary step in a larger transnational comparative study of lifestyle programming in Asia in which we seek to examine the role of lifestyle television in both shaping and reflecting broader shifts in social and cultural identity accompanying the rise of consumer-based modes of modernity.

In the summer of 2007, media coverage of Indian Idol-3 focused attention on how people in the Northeast Indian state of Meghalaya cast aside decades-old separatist identities to mobilize support for Amit Paul, a finalist from the region. While some fans set up websites and blogs to generate interest and support from the rest of the country and abroad, others formed a fan club and facilitated efforts by a range of groups and organizations to sponsor and manage PCOs (public call offices) in different parts of Meghalaya, distribute pre-paid mobile phone cards, and set up landline voting booths. Recognizing the ways in which these activities were beginning to transcend long-standing ethnic, religious, linguistic, and spatial boundaries, state legislators and other politicians soon joined the effort to garner votes for Amit Paul, with the chief minister D. D. Lapang declaring Amit Paul to be Meghalaya’s “brand Ambassador for peace, communal harmony and excellence.”1 It seemed that this three-month-long campaign around a reality television program could set the stage for a remarkable refashioning of the socio-cultural and political terrain in Meghalaya. As one commentator remarked:When Meghalaya’s history is written, it could well be divided into two distinct phases – one before the third Indian Idol contest and one after it. A deep tribal-non-tribal divide, punctuated by killings, riots, and attempts at ethnic cleansing, would mark the first phase. A return to harmony and to the cosmopolitan ethos of the past would signify the second. The agent of change: Amit Paul, the finalist of the musical talent hunt on a TV channel.

The silence around queerness is decisively broken. Much has happened in the last two decades. Today, there are queer groups, writers, activists, academics, filmmakers, and an increasing number of spaces where friendship, solidarity, and political engagement can be nurtured. Queer activism has been responsible for bringing a legal challenge to Section 377 (IPC) that criminalizes “sexual acts against the order of nature”.

Discussions of established women filmmakers whose careers have produced major bodies of work, as well as newer filmmakers and new media artists.

The culmination of three seminars at SAR's Indian Arts Research Center (IARC) that brought together Native women artists to discuss the balancing of their art practice with the myriad roles, responsibilities, and commitments they have. The artworks were diverse in media and content and are featured in the plates section of this volume, along with the artist statements that accompanied the pieces in the exhibit. The chapters reflect some of the seminars emerging themes: gender, home/crossing, and art as healing/art as struggle

Cette vidéaste regarde - et nous fait regarder - la frontière comme un espace mental et matériel : les interviews, la voix over dont le texte apparaît à l'écran, les citations de textes, les images, les sons et le found footage sont combinés de façon à donner un aperçu saisissant et intime à la fois des conditions de vie des femmes (division du travail, prostitution, violence à l'égard des femmes dans les rues, etc.) propres aux régions frontalières, c'est-à-dire se définissant en fonction des contraintes liées à leur position limitrophe, mais offrant une certaine liberté aux gens qui y vivent du fait, justement, de cette position. Il est intéressant de voir comment le road movie permet de réaffirmer la place de l'automobile comme pur moyen de mobilité, mais en même temps comment il nous oblige à nous concentrer sur un autre type de mobilité, que Walter Moser (2008, p. 9) appelle la « médiamotion », soit : une forme de mobilité que nous procurent les médias mais qui, dans un certain sens, remplace ou redouble le déplacement physique en offrant aux êtres humains une expérience presque paradoxale : le contact à distance. On peut également voir dans le road movie contemporain un « road movie interculturel6», parce que la route y trace «un espace imaginaire particulièrement apte à figurer la complexité et les asymétries de l'interculturel » (Gin 2008, p. 41), mais également parce que : l'intetculturalité [...] du road movie résiderait en ce sens dans le mouvement que subit un principe ou une pulsion d'identification culturelle ne pouvant ni se réaliser ou s'assouvir - narrativement, visuellement - dans l'univocité d'un arrêt sur image, ni pour autant s'épuiser on the road Xp. 44). En fait, la mobilité transnationale se situant au centre de cette production filmique «accentuée» donne lieu à un ensemble de tentatives en constante évolution, où les identités culturelles en devenir peuvent être «constamment reformulées dans une perspective future, bien que conditionnées par des liens historiques et des devoirs avec le passé» (Grillo, Riccio et Salih 2000, p. 16), aussi bien que par les liens qu'entretiennent les migrants et les exilés avec leur identité et leur culture d'origine.

Qu'est-ce que l'identité noire ? Contre ceux qui en défendent une conception ethniciste ou nationaliste, ou qui cherchent avant tout à en préserver l'authenticité, Paul Gilroy montre comment cette identité complexe, nourrie d'une diversité irréductible, repose sur l'existence d'un espace transnational en constante transformation, qui n'est pas spécifiquement africain, américain, caribéen ou britannique, mais tout cela à la fois : l'Atlantique noir. L'objet de ce livre est de donner à voir l''existence de cet espace constitué dès le XVIIe siècle à travers l'histoire de la traite négrière, de retracer ce réseau serré de relations, d'échanges à multiples sens, d'idées, d'hommes et de productions culturelles. Au fil de pages peuplées par les figures les plus hétéroclites, de Spike Lee à Walter Benjamin en passant par les Jubilee Singers, Richard Wright, W. E. B. Du Bois, Jimi Hendrix, Wynton Marsalis et Hegel, l'espace et le temps singuliers de l'Atlantique noir prennent forme et consistance de façon saisissante. La musique, mode d'expression de prédilection d'une culture enracinée dans l'expérience des terreurs indicibles de l'esclavage, avec ses usages et ses allers-retours inattendus d'un bord à l'autre de l'Atlantique, joue ici un rôle de premier plan. Le retour sur l'esclavage et son caractère intrinsèquement moderne, opéré dans les oeuvres de nombreux écrivains noirs, ouvre par ailleurs à une relecture critique de la modernité, d'une portée universelle, au même titre que la critique des conceptions figées et réductrices de l'identité.

In 1971, I made a film entitled Self Portrait of a Nude Model Turned Cinematographer in which I explore the objectifying ‘male’ gaze on my body in contrast to the subjective lived experience of my body. The film was a radical challenge to the gaze that objectifies woman – and thus imprisons her – which had hitherto dominated narrative cinema. Since the objectification of women has largely excluded us from the privileged phallogocentric discourses, in this paper I hope to bring into the psychoanalytic dialogue a woman's lived experience. I will approach this by exploring how remembering this film has become a personally transformative experience as I look back on it through the lens of postmodern and feminist discourses that have emerged since it was made. In addition, I will explore how this process of imaginatively looking back on an artistic creation to generate new discourses in the present is similar to the transformative process of analysis. Lastly, I will present a clinical example, where my embodied countertransference response to a patient's subjection to the objectifying male gaze opens space for a new discourse about her body to emerge.