Click on each box to read the abstract.
Foxy Code Switchers, Authenticity, and Subversion: Lust, Caution (2007) and The Handmaiden (2016)
Beowulf! Who Are You Calling a Beast?: Grendel (1971) & The Mere Wife (2018) Counter-Cannibalize Western Identities
Prison Memoirs as Sanctuaries for Sanity and Testimonios for Justice: Kenya’s Josiah Kariuki, China’s Ji Xianlin, and Argentina’s Jacobo Timerman
Intertextual Conversations Among Othello’s Avatars: Season of Migration to the North (1966) and Native Son (1940)
The Serpent in the Heterotopia: How Lady Macbeth (2016) Inverts, yet Perpetuates the Supremacist Gaze
Spatializing the Female Patriarch, Visualizing Plantation Memories: Gone With the Wind (1939) and Indochine (1992)
Queer Time Rites of Passage for Monstrous Teens: Bones and All (2022) and Other Stories of Cannibalistic Angst
Austere Shakespeare for Queer Rights: Minimalism Misbehaves in Jarman’s The Tempest (1979) and Edward II (1991) (In Progress)
East Asian Zombies, Ghosts, and the Living All Terrify Each Other: Dumplings (2004), Detention (2019), Kingdom (2021) (In Progress)
East Asian Macbeths Defamiliarize Sociopolitics and Circumvent Censorship (In Progress)
Staged Ethnographies of the Liminal with Premiers at Cannes: Andrea Arnold’s Bird (2024) and Sean Baker’s Anora (2024) (In Progress)
Monster (2023), Stateless Beings (2012), and Kiss of the Rabbit God (2019): East Asian Queer Narratives Explore Synchronicity and Acceptance (In Progress)