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Abstract: "Secret identity" adventure narratives such as "The Mark of Zorro" invoke queer textuality when one character runs the spectrum
of gender identities. Such queerness is always contained, however, by the text's conservative political agenda.
Abstract: Maya Deren's persona illustrates the similarities between practices of stardom in mainstream and alternative film, and Deren's
use of film as a performative art highlights the relationship between film images and persona.
Abstract: In their original historical context, burlesque films of the period 1945 to 1960 displayed excess, parody, polymorphous desire,
and gender fluidity, qualities that challenged normative gender roles and restrictions on sexual expression.
Abstract: The post-1986 Hong Kong cinema of John Woo is an apocalyptic crisis cinema, an urban vision forming part of a "legitimation
crisis" that involves an aesthetic of political, historical, and cultural density.
Abstract: Feminist film theory has too long equated representation with alienation and error, causing it to become embroiled unnecessarily
in questions of epistemology. The struggle should not be over representation, but over representations; what is needed to
challenge patriarchy is not an altered epistemological relation to the real, but altered representations.
Frank P. Tomasulo
Robert Lang, Greg Martino