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    <lastmod>2026-01-19</lastmod>
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      <image:caption>RAGE: The Emotional Climate of Union Activism on Silent Era Film Production in Non-Union Los Angeles and Women Who Led Changes in Labor Fights Women and Silent Screen, Brussels 2025</image:caption>
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      <image:caption>SECOND SKIN: Nicole Tran Ba Vang in Brice Dellsperger’s Re-Enactment Video Body Double(X) UCLA, Los Angeles 2024</image:caption>
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      <image:caption>SUPER FLY, MALE COSTUME AND MELODRAMA Critical Costume Conference, (Norway/online due to COVID-19), 2020 Melodramatic tropes appear in the costumes of Super Fly, the 1972 African American crime film about New York’s narcotic trade. It has a nineteenth century melodrama understory - that of an individual fighting an oppressive social system – but Super Fly’s reliance on presentation also places it in melodrama. The lead character’s exceptional costumes, designed by Nate Adams, create a new amalgamation of crime paradigm, material excess, bold masculinity, emotional pathos and melodramatic narrative that has roots in centuries of African American use of subversion and protest through clothing and costume.</image:caption>
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      <image:caption>THE SENTENCES OF DJUNA BARNES Bard Graduate Center, New York, 2015 Djuna Barnes “makes the common unusual.” — James Joyce “The perfume her body exhaled was of the quality of that earth-flesh, fungi, which smells of captured dampness and yet is so dry, overcast with the odorof the oil of amber, which is an inner malady of the sea, making her seem  as if she had invaded a sleep incautious and entire.” — Nightwood, Djuna Barnes This talk shows how a deep deconstruction of even a single sentence in the lush language of Djuna Barnes’ novel, Nightwood, reveals a profound and astute understanding of people’s lives.</image:caption>
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