Abstract
Abstract: This paper, reading from Gayatri Spivak's ongoing revisions of her critique of subalternity, examines how the rebel figure in the 2001 screwball comedy Zoolander is brought into being and draws out the represented power structures according to broader social patterns in Hollywood depictions of resistance. While Zoolander is caught up in a politics that might lead to displaced forms of representation, its visual spectacle, juxtaposing poverty and opulence, illustrates a continuing problem in popular visual depictions of resistance and political struggle, a problem that requires analysis on a transnational scale.
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