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• Uncertain Frontiers: Female Identity and Rural Spaces

  The use of rape as a character motivator in the film, where the character experiences violent sexual trauma to find power can be seen as problematic, a gender...

• Uncertain Frontiers: Female Identity and Rural Spaces

  The landscapes in Ice Blue run cool, with brown, blue, and light yellow tones, and when there is blood on screen, it’s a small trickle on the skin....

• Uncertain Frontiers: Female Identity and Rural Spaces

  Ultimately, the film tells a coming of age story that is also a rebuke of rural life, where the farm is a source of violence and repression, while...

• Kristen Hutchinson

  *Kristen Hutchinson* (they/she) is a queer and gender-fluid visual artist, cultural critic, curator, writer, editor, and adjunct professor of art history, feminism, media studies, and popular culture. They received...

• Editor's Note

  Having grown up in a small town in rural Quebec, raised by primarily atheist parents, I did know about Jehovah Witnesses but I had never heard of Seventh...

• The Texture of the Gesture: Exploring Apostasy and Ancestry in Jeremy Moss' THESE WAYS I TRANSGRESS

  Fluctuating between a re-enactment of Joseph Smith’s “Visitation”,¹scenes depicting pilgrims, missionaries and polygamists staged in the Mojave desert, and home-movie like sequences of the faithful walking to the temple in...

• B.G-Osborne's A THOUSAND CUTS: Misconceptions of Trans People in Popular Culture

  These are some of the first images and snippets of dialogue from B.G-Osborne’s ten-and-a-half-minute 2018 video installation A Thousand Cuts. Appropriated clips of representations of trans people played by...

• Broken Knobs and Glass Eyes: Jan Svankmajer's ALICE

  The character of Alice (Kristýna Kohoutová) appears uncomfortable in the real world. The film is an expression of frustration at a system that forcefully tries to fit a person...

• The Texture of the Gesture: Exploring Apostasy and Ancestry in Jeremy Moss' THESE WAYS I TRANSGRESS

  Moss is now a self-professed atheist, although even this allegiance makes him uneasy; “I am averse to any/all absolutes. I don't believe in god, but I don't want...

• The Texture of the Gesture: Exploring Apostasy and Ancestry in Jeremy Moss' THESE WAYS I TRANSGRESS

  Beyond this material treatment, the process of recording images for the film may be the most compelling element of the work. Moss travelled with his family (a trip...