No. 32 (2018): Image and Text

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• Discursive cuts, receptive wounds Notes on the reception of Inxeba/The Wound

  Wemar Strydom

  1 - 9

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• Contextualisation, part 1: Queer cinema and the global

  Bill Marshall

  10 - 17

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• A sex-critical reading of the homosexual sex acts depicted in Inxeba

  Rory du Plessis

  18 - 31

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• Interrogating conceptions of manhood, sexuality and cultural identity

  Siseko H Kumalo, Lindokuhle Gama

  32 - 50

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• On Oyèrónké Oyèwùmí, colonial Afro-masculinities and the subjection of African cultural praxis in Inxeba

  Rantsho A Moraka

  51 - 64

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• Layers of woundedness in Inxeba Masculinities disrupted, denied and defamed

  Peace Kiguwa, Anele Siswana

  65 - 78

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• Identity in interaction Sub-cultural intersubjectivities in popular radio conversation on Inxeba

  Dylan Kukard, Richard van Rensburg

  79 - 99

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• “What is it to be a man?” Rites, hashtags, outrage

  Lungelo Manona, Andrea Hurst

  100 - 116

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• ‘Shame, Seething, Basic Shame… It’s all About the Cock’ Reading Nakhane Touré’s Piggy boy’s blues (2015) after Inxeba

  Katlehiso Sixam

  117 - 121

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• Coda: 2018, Still struggling with a pair of shoes bought in 1996?

  S’nothile Gumede

  122 - 125

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• To Make See and to Let Die: Photography and testimony

  Gustavo Racy

  126 - 143

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• Minna Keene: a neglected pioneer

  Malcolm Corrigall

  144 - 173

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• Black mirrors and zombies: The antinomy of distance in participatory spectatorship of smart phones

  Landi Raubenheimer

  174 - 196

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• In/On the Bones: species meanings and the racialising discourse of animality in the Homo naledi controversy

  Benita de Robillard

  197 - 223

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• The becoming-flower of video games: a Deleuzoguattarian analysis of Thatgamecompany’s Flower (2009)

  Corné du Plessis

  224 - 245

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