Film and Media Studies Commons^™

Women’S Agency And Pleasure (Wap): Toward A Black Feminist Theory Of Sexuality, Jelisa S. Clark, Erica Campbell

Journal of Research Initiatives

Black feminist theory has identified sexuality as a site of oppression for Black women, however, there has been limited attention to Black women’s pleasure. We suggest that WAP by Cardi B and Meg the Stallion provides a conceptual lens through which Black women's sexuality can be more humanely envisioned. WAP, in the tradition established by Black women in the blues, represents Black feminist theorizing about sexuality. Themes of Cultivating Community and Developing Voice through Self-Definition are central to discussions of Black women's pleasure. In this work, we bridge academic theorizing and Black women's cultural productions to reinvigorate Black feminist theorizing …

Introduction: Rethinking Circulation In Italian Film And Media, Simone Brioni Dr., Rachel Johnson, Shelleen Greene

Department of English Faculty Publications

This introduction to the special issue ‘Rethinking Circulation in

Italian Film and Media’ reconsiders how Italian audiovisual culture

moves across borders – industrially, geographically, linguistically,

and digitally. By focusing on the complex dynamics of circulation,

the essays gathered here trace the evolving connections between

production and distribution, exploring how contemporary modes

of localization, translation, and platform curation shape the

visibility and cultural capital of Italian cinema in global contexts.

From streaming giants such as Netflix to curated services like

MUBI, and from film festival circuits to independent film-making

networks, the issue interrogates how transnational infrastructures

of distribution redefine what counts …

Artificial Intelligence And The Palimpsestuous Nature Of Image Documents, Brian C. O'Connor, Laurie J. Bonnici

Proceedings from the Document Academy

We propose that document engagements are palimpsestuous - meaning emerges through layered interactions between viewers and documents rather than inhering within documents themselves. A photograph of a coffee mug prompts the question "Who's Blake?" for one viewer while evoking decades of family ritual, community relationships, and funeral flowers in ice cream containers for another. Traditional cataloging systems capture surface-level nouns (coffee mug, ice cream parlor) while systematically excluding the epidata and proximity relationships where meaning lives.

Through conversations with Claude.ai about photographs - including a Lewis Hine child labor image, everyday objects, and landscapes - we demonstrate that AI systems …

Figures Of Truth And Justice: Superman & Rock Music, Kelan Vitali

CAFE Symposium 2026

The American comic superstar Superman and rock music are completely different forms of media. One performs acts of heroism, and one is performed on stage. Despite their differences, however, both are prominent symbols of inspiration and moral courage.

Disney's American Mulan, Sofia Diascro

CAFE Symposium 2026

In America, we are taught that we should live for ourselves. We are told we have personal freedom to be an individual and do what we want. Ancient China prioritized collectivism, an idea deeply rooted in Confucianism. Collectivism is about hierarchy, family, duty, and obligation. Disney’s Mulan movies differ from the Chinese legend of Mulan by emphasizing American values of individuality and self-discovery.

Mamma Mia! What Nostalgia!, Asher Leuzzi

CAFE Symposium 2026

An analysis of Phyllida Lloyd's Mamma Mia!, and how it relates to Authentic Rock Culture. Discusses the power of nostalgia, demonstrating that it can be either a positive or negative force. Generally, sound used within this film helps display energy and emotional truth, which allows for complex themes to be revealed.

Hercules In Myth And Animation: Masculinity And Heroism, Noah Bautista

CAFE Symposium 2026

Disney's Hercules is a model man in today's society who combines the best aspects of both masculinity and femininity. In the myths, however, Hercules was much different and did not act as such a bridge between femininity and masculinity at the time. Through other scholarly works, the way that masculinity, heroism, and instrumentalization are presented and used is examined. Mythological Herakles is found to be a much more aggressive archetype of a man rather than Hercules, who is based upon strength in moderation and a more social society. Each fit into the ideals of the society they come from, perpetuating …

Life Beyond The Set: A Philosophical Analysis Of Existentialism In The Truman Show, Sharlene Almanzar

CAFE Symposium 2026

This paper aims to examine The Truman Show (1998) through the existentialist ideas of philosopher Jean-Paul Sartre, with particular attention to his concepts of freedom, bad faith, and self-creation, while also exploring the existentialist themes previously articulated by philosophers such as Nietzsche and Kierkegaard. The Truman Show serves as an allegory of existential freedom, demonstrating throughout that individuals are not born with an innate, fixed nature, but rather continually define themselves through their choices, ultimately illustrating Sartre’s principle that “existence precedes essence”. The concluding realization of the main character, Truman Burbank, that his world is an elaborate illusion embodies that …

Music As Memory And Narrative In American Graffiti And Dazed And Confused, Jacob Tone

CAFE Symposium 2026

This poster explores how George Lucas’s American Graffiti (1973) and Richard Linklater’s Dazed and Confused (1993) utilize popular music as a narrative tool to define the evolution of American youth culture. By examining the shift from the unified, diegetic radio culture of 1962 to the fragmented, ironic rock pastiche of 1976, the research highlights how Lucas creates a "communal identity" rooted in sincerity while Linklater captures the "disillusionment" of a generation adrift. Ultimately, the study demonstrates that these soundtracks are not mere background elements but serve as vital cultural archives that mediate between history and cinematic memory, shaping the way …

2026 Sundance Film Festival: Introduction, John C. Lyden

Journal of Religion & Film

2026 Sundance Film Festival: Introduction

Tuktuit: Caribou, William L. Blizek, Monica Blizek

Journal of Religion & Film

This is a review of the short film, Tuktuit: Caribou (2026), directed by Lindsay Aksarniq McIntyre.

Taga, William L. Blizek, Monica Blizek

Journal of Religion & Film

This is a review of the short film, Taga (2026), directed by Jill Marie Sachs.

Together Forever, William L. Blizek, Monica Blizek

Journal of Religion & Film

This is a review of the short film, Together Forever (2026), directed by Gregory Barnes.

Rethinking Jewish Representation Amid Rising Antisemitism, Dereck Daschke

Journal of Religion & Film

A report on a panel that occurred at the 2026 Sundance Film Festival, "Rethinking Jewish Representation Amid Rising Antisemitism: Leveraging Insights from Our Groundbreaking USC “Jews on Screen” Study to Advance Narrative Change," presented by JITC (Jewish Institute for Television & Cinema) Hollywood Bureau.

Paralyzed By Hope: The Maria Bamford Story, Sheila Nayar

Journal of Religion & Film

This is a film review of Paralyzed by Hope: The Maria Bamford Story (2026), directed by Judd Apatow and Neil Berkeley.

The Story Of Documentary Film: Episode 1, “The Beginning", Sheila Nayar

Journal of Religion & Film

This is a film review of The Story of Documentary Film: Episode 1, “The Beginning" (2026), directed by Mark Cousins.

The Incomer, Sheila Nayar

Journal of Religion & Film

This is a film review of The Incomer (2026), directed by Louis Paxton.

The Oldest Person In The World, Sheila Nayar

Journal of Religion & Film

This is a film review of The Oldest Person in the World (2025), directed by Sam Green.

Silenced, Sheila Nayar

Journal of Religion & Film

This is a film review of Silenced (2025), directed by Selina Miles.

Lady, Sheila Nayar

Journal of Religion & Film

This is a film review of LADY (2026), directed by Olive Nwosu.