Podcast appearances and mentions of laura horak

Vanessa Zoltan and Hannah McGregor meet on the soccer field to record this week's episode of Hot and Bothered, all about She's The Man. This week we discuss toxic masculinity, Amanda Bynes' funny accent, and the way gender politics get played out the sports field. We finish the episode with an interview with Laura Horak about her scholarship on cross-dressing in cinema.---If we give you butterflies, consider supporting us on Patreon! On Patreon have more great romance content including a bonus close scene analysis with Vanessa and Hannah. Hosted on Acast. See acast.com/privacy for more information.

We're so done with scary trans villains and monsters – or are we? Cáel Keegan explains why we might be able to learn lessons about trans liberation from Buffalo Bill and why The Silence of the Lambs, upon its release, was actually protested for homophobia. Cáel speaks about transfixing and spellbinding media, from The Matrix to Buffy to video games. Dark Willow makes an appearance. Not to be missed. References:Keegan, Cáel M. Lana and Lilly Wachowski. University of Illinois Press, 2018.Keegan, Cáel M. "Emptying the future: Queer melodramatics and negative utopia in Buffy the Vampire Slayer." Queer Studies in Media & Popular Culture 1.1 (2016): 9-22.Keegan, Cáel M. "Getting disciplined: What's trans* about queer studies now?." Journal of homosexuality 67.3 (2020): 384-397.Keegan, Cáel M., Laura Horak, and Eliza Steinbock. "Cinematic/trans*/bodies now (and then, and to come)." Somatechnics 8.1 (2018): 1-13.Orange is the New BlackThe MatrixThe Silence of the LambsHannibal LecterJodie FosterHomonormativityMads MikkelsenAnthony HopkinsWill GrahamBuffalo BillDark WillowSoldier's GirlHil MalatinoLeah Lakshmi Piepzna-SamarasinhaMark Fisher's Capitalist RealismJudith Butler's Panicked MimesisMcKenzie Wark's Gamer TheoryWork in ProgressAbby McEnanyTheo GermaineThey/ThemEdie Fake's Gaylord Phoenix Questions you should be able to respond to after listening: Why is Cáel so interested in mass media? What can we learn from widely received stories – even, or especially when, they're problematic?Cáel explains how we can take care of difficult texts or even diffuse them like bombs. What does this mean? Did either concept resonate with you?What is cisgender realism and which theorist is Cáel building on with this concept?What is your favourite scary queer text and why is it Carmilla?

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cinema's First Nasty Women, with Co-Curators Maggie Hennefeld, Laura Horak, and Elif Rongen-Kaynakçi • Scoring Cinema's First Nasty Women, with Dana Reason (82:02)

And I say--it's time for an episode on Sense8! We're talking about queer joy. We're talking about utopia. We're talking about why it's important to not assume the human experience is universal, even when we're talking about radical empathy. Warning: Swearing and discussions of explicit content.Some Links You Might Find Interesting:Sense8 by Matthew CheneySense8 Has Ended, and We Are Poorer For It by Emmett Asher-PerrinSense8's Christmas Episode Put Queer Happiness on the Table for 2017 by Sreshtha SenReview: The Wachowskis Nonsensical 'Sense8' Is The First Major Slip For Netflix In 2015 by Nikola GrozdanovicSense8 Roundtable (Spectator 37.2, Transgender Media) by Cáel M Keegan, Rox Samer, Laura Horak, micha cárdenas, Lokeilani Kaimana, Raffi Sarkissian, Geneveive R Newman, Moya BaileySense 8 and the Praxis of Utopia by Dilyana MinchevaSense8 and the Failure of Global Imagination by Claire LightThe Problem With Sense8 by Andrea MerodeadoraWhy Sense8's Nomi and Amanita Are My Vision for a Queer Revolution by Samantha ReidelOur Website | Twitter | Facebook | Tumblr | Patreon | Merch

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

Unwatchable, unreadable, or merely hard to find. It all adds up on this episode of Open Stacks as excesses of art and life are on (and off) display. Uncover your eyes and ears as editors Nicholas Baer, Maggie Hennefeld, and Laura Horak discuss our mediated era and contemporary modes of spectatorship in Unwatchable, and other books worth reading closely. From the front lines of the Front Table, Rachel Galvin's News of War examines early 20th century poetry's critical distance from cultures of war. And Co-op Manager Adam Sonderberg esteems value in books browsed and left behind.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Education Channel » FRED Education Podcast. Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 was first posted on October 10, 2017 at 5:40 pm.©2015 "Fred Education Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

In this second podcast in the art house horror series discusses the birth of the slasher movie! In this episode, I’m talking about films like The Texas Chainsaw Massacre, Halloween, and Friday the 13th. I also go into how Laura Mulvey, Sigmund Freud, and heteropatriarchy are interconnected in horror. Want to help support the podcast? Consider making a small, monthly donation at patreon.com/OpenIvoryTower Show Notes: (My first ever print publication!): Bailey, Moya, Micha Cardenas, Laura Horak, Lokeilani Kaimana, Cael M. Keegan, Geneveive Newman, Roxanne Samer, and Rafi Sarkissian. “Sense8 Roundtable.” Ed. Roxanne Samer. Spectator: Transgender Media 37.2 (Fall 2017): 74-88. Link: https://www.academia.edu/33277334/Sense8_Roundtable?s=t Mulvey, Laura. "Visual Pleasure and Narrative Cinema." The Film Theory Reader: Debates and Arguments. Ed. Marc Furstenau. New York: Routledge, 2010. 200-08. Print. Sophocles. "Oedipus Rex." The Oedipus Cycle: An English Version. Trans. Dudley Fitts and Robert Fitzgerald. Orlando, FL: Harcourt Brace, 1976. 1-78. Print. Films of the New French Extremity: Visceral Horror and National Identity by Alexandra West: https://www.amazon.com/Films-New-French-Extremity-Visceral/dp/1476663483 Interested in the new Friday the 13th game, which incorporates slasher movie tropes directly into gameplay? You can find the Steam page here: http://store.steampowered.com/app/438740/Friday_the_13th_The_Game/ Written and Produced by Geneveive Newman Transition music: Duologue by Javolenus © copyright 2012 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. Ft: audiotechnica

Welcome to The Creators Call podcast, where we explore technology and how it being used for education. Our guest is Laura Horak, the Director, Americas of the Startup Bus. We talk about the Startup Bus' mobile hackathons and how hipsters, hackers, and hustlers built MVPs in 3 days at 60 miles per hour. Music for The Creators Call is by Tobu. Tobu can be found on Facebook at www.facebook.com/tobuofficial/ and on Spotify at open.spotify.com/artist/1feoGrmmD8QmNqtK2Gdwy8 For more information or to listen to other episodes, please visit TheCreatorsCall.com