Mary K. Bloodsworth-Lugo – författare

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films (among other genres) into its discussions, as well as recent and popular titles of interest, such as Twilight, Avatar, Machete, True Blood, and The Matrix and The Help. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives.

Animating Difference studies the way race, ethnicity, sexuality, and gender are portrayed in recent animated films from 1990 through the present. Ranging from Aladdin to Toy Story to Up, these popular films are key media through which children (and adults) learn about the world and how to behave. While racial and gender stereotypes may not be as obvious as they may have been in films of decades past, they often continue to convey troubling messages and stereotypes in subtle and surprising ways.

Animating Difference studies the way race, ethnicity, sexuality, and gender are portrayed in recent animated films from 1990 through the present. Ranging from Aladdin to Toy Story to Up, these popular films are key media through which children (and adults) learn about the world and how to behave. While racial and gender stereotypes may not be as obvious as they may have been in films of decades past, they often continue to convey troubling messages and stereotypes in subtle and surprising ways.

Connects theories of sexual difference to race and queer theories through a focus on "in-between" bodies.Residing between culture and nature, lived bodies are not fixed objects nor biological givens. In-Between Bodies examines "the body" in light of recent work in sexual difference theory and considers contributions provided by sexual difference frameworks, as well as their limits. Addressing how bodies reside outside of traditional categorization, Mary K. Bloodsworth-Lugo reexamines issues of sex, gender, and race and maintains that while sexual difference theorists do account for positions that reside between traditional binaries, she points to lived bodies and experiences left unaccounted for. Drawing from theorists of transgendered and racialized identities, for example, this book helps recognize and address various gaps in sexual difference theory while it indicates practical contributions for pedagogy and politics.

Connects theories of sexual difference to race and queer theories through a focus on "in-between" bodies.Residing between culture and nature, lived bodies are not fixed objects nor biological givens. In-Between Bodies examines "the body" in light of recent work in sexual difference theory and considers contributions provided by sexual difference frameworks, as well as their limits. Addressing how bodies reside outside of traditional categorization, Mary K. Bloodsworth-Lugo reexamines issues of sex, gender, and race and maintains that while sexual difference theorists do account for positions that reside between traditional binaries, she points to lived bodies and experiences left unaccounted for. Drawing from theorists of transgendered and racialized identities, for example, this book helps recognize and address various gaps in sexual difference theory while it indicates practical contributions for pedagogy and politics.

As a result, existing notions of threat combine with 9/11 inflections to shape a specific conception of threat in a context “after” 9/11, and within this context, a feminism “after” 9/11 emerges.

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, comedies, horror, and science fiction films (among other genres) into its discussions, as well as recent and popular titles of interest, such as Twilight, Avatar, Machete, True Blood, and The Matrix and The Help. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives.

Projecting 9/11 examines sensibilities and ideologies that arose after September 11, 2001, and how these intersect with issues of race, gender, sexuality, and citizenship in contemporary mainstream films. The authors argue that the social and political project that is “9/11” can be found in most cultural artifacts produced after the date, including film. In essence, Hollywood films project the 9/11 project.The book analyzes the specific ways in which recent Hollywood films have become both powerful forces of significance and also forceful representations of reality about post-9/11 life. From films that explicitly treat subjects related to 9/11, such as United 93 and Extremely Loud and Incredibly Close, to films that show post-9/11 themes in less-expected ways, such as Eat, Pray, Love and World War Z, the authors explore tensions around race, gender, and sexuality. The book examines our perceptions of reality after the events of September 11, 2001, as shown by one of the more influential means of cultural representation—Hollywood films.