Black Space: imagining race in science fiction film
Black Space: imagining race in science fiction film
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黑色空间：想象科幻电影中的种族
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发表时间：
2009
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通讯作者：
A. Quanbeck
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作者：
A. Quanbeck
（通过变装、通奸、谋杀或乱伦）。这包括对《哭泣游戏》（1992）、《科布》（1994）和《布吉之夜》（1997）等电影的分析，以及业余网站Voyeurweb。总之，当他指出一系列新的男性身体表现形式的出现时，他投下了一种充满希望的基调，并坚持认为这些文本“以夸张的阴茎为特色，无疑表明禁止展示阴茎的禁忌正在崩溃”（第251页）。他还认为，这些业余的表征提供了有趣的替代品，贯穿全书讨论的主导表征，允许人们进入关于他们自己的身体和欲望的公共话语。本卷的优势仍然是其理论框架以及其中分析的体裁多样性。然而，一个批评是，雷曼没有对最初的最后一章（10）进行大量修改，因此本卷的结尾读起来有点尴尬，好像它实际上包括两个结论。此外，作者没有系统地参与最近与酷儿旁观有关的文学，这本可以增强他对男性身体的一些女权主义解读。尽管如此，雷曼的文本是该领域的重要基石，学者和学生都将受益于重新发现这本书丰富的书目来源，并将从他的多管齐下的方法中汲取灵感。事实上，这卷将很好地工作在各种课程的传播研究，电影和电视研究，性别和性研究。
(through transvestism, adultery, murder or incest). This includes an analysis of such films as The Crying Game (1992), Cobb (1994) and Boogie Nights (1997) and the amateur website Voyeurweb. In sum, he casts a hopeful tone when he points to the emergence of a new series of representations of the male body and maintains that such texts ‘featuring melodramatic penises certainly suggest that the taboo against showing the penis is crumbling’ (p. 251). He also argues that these amateur representations provide interesting alternatives to the dominant representations discussed throughout the book, allowing people to enter into the public discourse about their own bodies and desires. The strength of this volume continues to be its theoretical framework as well as the diversity of genres analyzed therein. One critique, however, is that Lehman did not heavily revise the original final chapter (10), and so the end of the volume reads a bit awkwardly as if it actually includes two conclusions. Furthermore, the author does not systematically engage recent literature related to queer spectatorship, which could have enhanced some of his feminist readings of the male body. Nevertheless, Lehman’s text is an important cornerstone in the field and scholars and students alike will benefit from rediscovering this volume for its rich bibliographic sources and will draw inspiration from his multi-pronged approach. Indeed, this volume would work well in a variety of courses in communication studies, cinema and television studies, and gender and sexuality studies.