Avenge, Settle, or Forgive?

Gender Identities, Transnational Film, and Transitional Justice

Brill Series: Global Historical Fictions 

Publishing Proposal Under Review

Description:

Part I: Support Hegemonic Metanarratives

Chapter 1:

Children’s Entertainment, Arthouse Films, and Pornography: The Visual Biopolitics of Pocahontas Saving John Smith

Chapter 2:

Spatializing the Female Patriarch, Visualizing Plantation Memories: Gone With the Wind (1939) and Indochine (1992)

Part II: Call for Acknowledgment of the Victims of Human Rights Abuses

Chapter 3:

Underworld Rebirths and Garish Clowns: Womb-Tomb Gestations in Pan’s Labyrinth (2006) and The Last Circus (2010)

Chapter 4:

Tested Identities, Love Triangles, and Queer Rebellion: Farewell My Concubine (1993) and The City Without Limits (2002)

 Part III: Investigate Questions of Historical Accuracy

Chapter 5:

Returned Gazes, Stalled Migrations, and Quixotic Masculinities: Tomás Alea’s Memories of Underdevelopment (1968) and Lucrecia Martel’s Zama (2018)

Chapter 6:

Newspaper Obituaries Mark the Afterlives of French Senegalese Colonialism: Ousmane Sembene’s Black Girl (1966) and Alice Diop’s Saint Omer (2023)

Part IV: Promote Reconnection and Forgiveness

Chapter 7:

Between Violence and Truth, Between Righteous and Right: Necropolitics in The Secret in Their Eyes (2009) and Argentina, 1985 (2022)

Chapter 8:

Competing Messages of Violence, Segregation, or Truce: The Wendigo’s Many Images and Roles in Popular Culture and Indigenous Films

Part V: Contesting Eliding and Silencing Domination

Chapter 9:

Hold Her Hand in Communion and for Justice: World War II Sex Slavery, Activist Films, and Living Statues

Chapter 10:

Foxy Code Switchers, Authenticity, and Subversion: Lust, Caution (2007) and The Handmaiden (2016)

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