Bloodshed in Suburbia: On Todd Haynes' Safe (1995)

This essay appeared in Issue 2 of The Film Atlas.

In an uncharacteristic move to “try something new,” Carol White gets a perm in a green marble, mirrored room. Carol, a hesitantly self-described “homemaker,” suffers from a mysterious and multi-symptomatic illness despite (or because of) her profoundly insular, conventional, and hermetic world.

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The Future is Female*: On Queer Futures and Alien Transcendence in Science Fiction Cinema and Beyond

This essay was originally published in Issue 1 of The Film Atlas.

To be alien is an affective mode. It is to sense (or to be taught through violence) that the thick walls of gender and continents and skin are too restrictive. To feel alien – that is, to find oneself on the side of the oppressed – is to embody an unsettlement, a dislocation, to negotiate a fervent and infinite incongruence between body and subject. It is a rejection of fixity. In this sense it is a productive force. Both Under the Skin and Her gender their extra-human futuristic subjects female, despite the fact that neither subject is predisposed to an earthly gendered anatomy.

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A Reading of a Transcript of a Rally

On November 6th, 2016, a group of artists and writers gathered in front of a crowd on the High Line in New York City and read responses to Zoe Leonard’s seminal 1992 text ‘I want a president’ – which had been blown up and wheatpasted onto a nearby wall. The book that grew from this pre-election rally is I want a president: Transcript of a Rally.

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Hail Marys

Where Ma spills over with quiet embodiment, m/Other stages the disembodiment of language. Ma is told through the movement of silent bodies, and m/Other is a non-narrative, bodiless exploration of verbality. Both works are preoccupied with the maternal image and the distortion of a problematic narrative. The two together are a re-assemblage of dislocated parts, a convergence of subversive articulations.

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Neon Hauntings: Gender, Bodies and Terrain in Blade Runner

This essay was originally published in Slate Film & Moving Image Journal (April 12th, 2016)

Just as architecture is never devoid of signification or of discourse, the female body is always a site upon which a complex politics is at work. The nostalgic-dystopic politics of Ridley Scott’s Blade Runner are mapped explicitly onto the film’s neon-lit landscape, and are articulated through the bound or bloodied female bodies that inhabit it.

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Prospero and Yellow String: Carré's Embers

This review was originally published in the Berlin Film Journal (October 8th, 2015).

Like all good science fiction, Claire Carré’s Embers transcends its genre. It does not bask in its temporality nor its teleology, rather, it renders fragments of experience visceral and haunting without weighing itself down with plot drive and resolution.

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