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Outside of Space and Time: Screening Queerness in  Boys Don't Cry  and  Brokeback Mountain Melanie E.S. Kohnen Media in Tr...
[ stills from  Brokeback Mountain  (Ang Lee, 2005)   ]
 
 
 
 
 
 
 
 
 
[ stills from  Boys Don’t Cry  (Kimberly Pierce, 1999)   ]
 
 
 
 
 
 
 
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MiT6 - Melanie E.S. Kohnen

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"Media Temporalities: Genre, Queer Space, and Digital Archives in Transition"
Media in Transition 6 - MIT
April 25, 2009

A part of the above panel. I moderated; this is not my own presentation!

Outside of Space and Time: Screening Queerness in Boys Don't Cry and Brokeback Mountain
Melanie E.S. Kohnen

Melanie E.S. Kohnen is a Ph.D. candidate in the Department of American Civilization at Brown University. In addition to working towards the completion of her dissertation, “Screening the Closet: The Discourse of Visibility, Sexuality, and Queer Representation in American Film and Television, 1969-Present,” she has also published articles on new modes of televisual spectatorship and on conflicting representations of digital and analogue technologies in TV programming after 9/11. Over the past two years, she has also contributed to Digital Humanities Quarterly as Managing Editor.

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MiT6 - Melanie E.S. Kohnen

  1. 1. Outside of Space and Time: Screening Queerness in Boys Don't Cry and Brokeback Mountain Melanie E.S. Kohnen Media in Transition 6 - MIT - April 25, 2009
  2. 2. [ stills from Brokeback Mountain (Ang Lee, 2005) ]
  3. 12. [ stills from Boys Don’t Cry (Kimberly Pierce, 1999) ]

"Media Temporalities: Genre, Queer Space, and Digital Archives in Transition" Media in Transition 6 - MIT April 25, 2009 A part of the above panel. I moderated; this is not my own presentation! Outside of Space and Time: Screening Queerness in Boys Don't Cry and Brokeback Mountain Melanie E.S. Kohnen Melanie E.S. Kohnen is a Ph.D. candidate in the Department of American Civilization at Brown University. In addition to working towards the completion of her dissertation, “Screening the Closet: The Discourse of Visibility, Sexuality, and Queer Representation in American Film and Television, 1969-Present,” she has also published articles on new modes of televisual spectatorship and on conflicting representations of digital and analogue technologies in TV programming after 9/11. Over the past two years, she has also contributed to Digital Humanities Quarterly as Managing Editor.

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