Abstract | Abstract
Steen Christiansen's article Body Refractions examines Darren Aronofsky's 'Black Swan' and the notions of character identification and bodily transformation, arguing that the digital morphing of Black Swan suggests a different relation to the cinematic image, one which can only be understood in terms of affect rather than representation.
As we can see from this broad and diverse range of scholarship, despite a certain degree of transgression fatigue, the term remains critically viable and if nothing else maintains an openness to other alternatives, even as they strain to find their form.