Babak Anvari’s 2022 film I Came By tells the disjointed story of graffiti artists Jay and Toby. Set in the contemporary United Kingdom, the story addresses colonialism, race, and the curious characteristics of modern, industrial societies in this follow-up to Anvari’s 2016 debut film Under the Shadow. In many ways, I Came By resembles recent films like Get Out (Jordan Peele), Intrusion (Adam...
Upon the release of Gerard Bush and Christopher Renz’s Antebellum (2020), the film was met with mixed reception. Antebellum follows a young Black woman author, Veronica Henley (Janelle Monaé), who, after leaving her home and family to complete her book tour, “wakes up” to find herself enslaved on what appears to be a cotton plantation in the antebellum south. In the film, viewers watch as...
In my last post, I examined Fortnite’s March Through Time, an interactive experience inspired by Martin Luther King Jr.’s 17-minute “I Have a Dream” speech at the 1963 March on Washington for Jobs and Freedom. While most of the critical backlash against March Through Time has centered around the project’s “tonal dissonance,”—the seeming incompatibility of civil rights imagery and Fortnite’s...
I first decided to watch Jordan Peele’s Us on a relatively bright morning … on my phone … while I was on an airplane. This is far from the best context to get a good impression of anything, much less a densely loaded horror film like Us. The fact that these opening moments stuck with me despite all of this makes it worth examining for this series on interesting introductions. Here’s a link to the...
This week, we return to the archive for a post by Molly Cavanaugh, where she discusses the non-traditional erotics of the relationship between Hannibal Lecter and Will Graham. In the same vein as Mark’s posts, which have considered representations of gay relationships in film and television, Molly’s post contemplates the homoerotic tension created between predator and investigator within the...
What does queer media beyond mere representation look like? This week, Mark Muster begins to answer the question that he posed in last week’s post. In a 1986 New York Times interview regarding My Beautiful Launderette (1985), director Stephen Frears notes, “It’s a completely ironic film, isn’t it? We wanted people to have a wonderful time, but to make the film provocative, turning...
Recently, there has been an uptick in the amount of “gay-centric” media created by the mainstream film and television industry. Movies like Call Me by Your Name (2017), Moonlight (2016), Carol (2015), Bohemian Rhapsody (2018), etc. mark a notable shift in LGBT narratives to being not only more mainstream—more desired—but actively produced for recognition among the Hollywood award circuit. In the...
[10 minute read] In this month’s posts on Metathesis, I have discussed the metaphorical uses of contagious disease and examined the figure of the zombie in some popular late twentieth and twenty-first-century texts. In my final post of the month, I would like to turn to a unique sub-genre of the zombie narrative that unsettles the survivor-centered perspective of zombie outbreaks: the eco- zombie...
[10 minute read] In this month’s posts for Metathesis, I have been looking at how the metaphorical deployment of epidemic disease operates, and how we might understand the metaphorical function of plague zombies in contemporary texts. Why is it that the figure of the plague zombie features so prominently in the twenty-first-century imagination? If the plague zombie is a vehicle for addressing...
[7 minute read] Last week I discussed the use of contagion and metaphor, and mentioned how zombies can serve as “vehicles” for the metaphor of contagious disease. This week I continue my discussion of zombies, but before diving in, I want to draw a distinction between the two major representations of zombies in popular culture: what I somewhat reductively will refer to as the “Voodoo Zombie” and...