Brill Editor: Pieter Boeschoten
Series: Global Historical Fictions
Execute, Ameliorate, or Rectify:
Gender Identities, Transnational Film, and Transitional Justice
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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: Contest 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)