In the Hebrew Bible, God epitomises an ideal hegemonic masculinity: sexless but reproductive, in control of his creation, and hypermasculine when engaging with his feminised followers. As such, the Gospel writers depict Jesus as the Son of God with this, as well as the masculine ideals of the Greco-Roman world, in mind. Ultimately, this causes a…[Read more]

Queering Jesus is a call to remember the danger of the story of Jesus. The primary aim of this article is to offer a comprehensive survey of the representation of queer Jesus. Building upon the deconstructive work of Johannes Baptist Metz and the notion of the dangerous memories of Jesus’s suffering and death (memoria passsionis), this article t…[Read more]

Queering Jesus is a call to remember the danger of the story of Jesus. The primary aim of this article is to offer a comprehensive survey of the representation of queer Jesus. Building upon the deconstructive work of Johannes Baptist Metz and the notion of the dangerous memories of Jesus’s suffering and death (memoria passsionis), this article t…[Read more]

This article explores the role of poetry and narrative methods in African-centred queer biblical studies and theology. As a case in point, it presents a poem, titled “Accused of a Sodomy Act,” by Tom Muyunga-Mukasa, that was written as part of a queer Bible reading project with Ugandan LGBTQ refugees. The poem is a contemporary re-telling of the…[Read more]

This article explores the role of poetry and narrative methods in African-centred queer biblical studies and theology. As a case in point, it presents a poem, titled “Accused of a Sodomy Act,” by Tom Muyunga-Mukasa, that was written as part of a queer Bible reading project with Ugandan LGBTQ refugees. The poem is a contemporary re-telling of the…[Read more]

The article addresses the question why Christians often fail to achieve even the minimum standard of secular morality. It isolates from a long list of failures the undermining and maltreatment of women and sexual minorities. It describes four types of violence – gender, epistemic, symbolic, and hermeneutic – they are made to endure. It then und…[Read more]

The article addresses the question why Christians often fail to achieve even the minimum standard of secular morality. It isolates from a long list of failures the undermining and maltreatment of women and sexual minorities. It describes four types of violence – gender, epistemic, symbolic, and hermeneutic – they are made to endure. It then und…[Read more]

This special edition is a form of pride. It is a celebration of thirty years since the birth of queer theory. Of course, being queer, this was no normative conception or birth. More of an artificial insemination and fusion of gene pools, characterised by anarchy, activism, subversion, deconstruction, alongside identitarian and non-identitarian…[Read more]

This special edition is a form of pride. It is a celebration of thirty years since the birth of queer theory. Of course, being queer, this was no normative conception or birth. More of an artificial insemination and fusion of gene pools, characterised by anarchy, activism, subversion, deconstruction, alongside identitarian and non-identitarian…[Read more]

Abstract: Insofar as Walter identifies with this myth, his rational imperative is profoundly interrupted. However, this representational interruption also operates on a larger level. Since the film opens and closes with the western actor Sam Elliott (The Stranger) and is shot through with western stylistic motifs, it can be seen as striving toward…[Read more]

In Philip Roth’s The Human Stain (2000) and Percival Everett’s Erasure (2001) multiculturalism is described as moralistic and essentialist; both novels present black American male protagonists who feel victimized by multiculturalism. Although critics have maintained that the two novels present a universalist view of American identity, in this cha…[Read more]

This chapter examines the portrayal of Ireland’s mother-and-baby homes in Stephen Frear’s film Philomena (2013) and the biography on which the film is based, the British journalist Martin Sixsmith’s account of Philomena Lee’s life and search for her son, who was given up to an American couple for adoption under coercive circumstances. Enforced a…[Read more]

This chapter explores links among food, class and gender in two memoirs written by contemporary American expatriates in France. The argument made is that references to French cuisine simultaneously create and resolve the tensions that arise in the texts when the authors describe their ideal and elitist lives to a presumed American female…[Read more]

Syllabus for Japanese Mythology Spring 2021

As with many of the Kinoks’ films trains often appear in Dziga Vertov’s 1929 masterpiece, ‘Man with a Movie Camera’. Used to create dynamism, criss-crossing the screen, often at dramatic angles, and acting as a counterpoint to previous and following scenes. Train sequences also signpost a journey to Odesa by the eponymous cameraman. The paper…[Read more]

Dziga Vertov’s 1929 masterpiece ‘Man with a Movie Camera’ is a staple of film studies courses and academic papers but there has been no research until now into the important ‘co-stars’ of the film, the movie cameras. This paper discusses in detail the Debrie Parvo and other cameras used by the film’s cinematographer Mikhail Kaufman.

The definitive timeline for the early screening of Dziga Vertov’s 1929 masterpiece has been established for the first time. This illustrated paper looks at the details of the first showing of the film in Kyiv, Kharkiv, Moscow, and Germany. The earliest (pre-release) review of the film in 1928 has been translated into English for the first time,…[Read more]

Following extensive research and detective work, most of the locations used in Dziga Vertov’s 1929 masterpiece have been discovered. Described by leading film academics as ‘extraordinary and exciting research’ and ‘a huge step ahead in knowledge of the film’ the paper describes each location in detail including contemporary and current views. The…[Read more]

In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]