Spectacular metamorphosis and an erotic device in the self-promotion campaign of a satellite television channel

In contrast to the increased popularity of gay and lesbian representations in the visual media of the early 2000s, the imagery of androgynous, inter-sex and transgender subjectivities, particularly in television commercials, is conspicuously limited. This article distinguishes three main categories of cinematic (mis)representation of gender transgression: the opportunistic lipstick, the “authentic” lipstick, and the fabulous lipstick. It examines this classification through the analysis of a unique, self-promotional television commercial broadcast by Yes+, an Israeli digital television channel whose visual contents often transgress the limits of mainstream television. Although the discussed advert conforms to the commercial imperative to attract Israeli audiences by all means, it is much more polysemic than one might notice at first glance. This study problematizes the sensational aspects of this “spectacular drama,” embraces its diverse erotic identifications and re-examines the price of queer visibility in the age of exploitive striptease culture.     

Law as/of Property,Judgment as Dissension: Feminist and Postcolonial Interventions in the Networks

International Journal for the Semiotics of Law - Revue internationale de Sémiotique juridique -     

Framing,appropriating and being heard

Meaghan Morris, The Pirate's Fiancee.: Feminism Reading Postmodernism (Verso) London, 1988; Susan Sheridan (ed.), Grafts: Feminist Cultural Criticism (Verso) London, 1988.