Description: This is the first major collection to remap the American West though the intersectional lens of gender and sexuality, especially in relation to race and Indigeneity. Organized through several interrelated key concepts, The Routledge Companion to Gender and the American West addresses gender and sexuality from and across diverse and divergent methodologies. Comprising 34 chapters by a team of international contributors, the Companion is divided into four parts: Genealogies, Bodies, Movements, Lands. The volume features leading and newer scholars whose essays connect interdisciplinary fields including Indigenous Studies, Latinx and Asian American Studies, Western American Studies, and Queer, Feminist, and Gender Studies. Through innovative methodologies and reclaimed archives of knowledge, contributors model fresh frameworks for thinking about relations of power and place, gender and genre, settler colonization and decolonial resistance. Even as they reckon with the ongoing gendered and racialized violence at the core of the American West, contributors forge new lexicons for imagining alternative Western futures. This pathbreaking collection will be invaluable to scholars and students studying the origins, myths, histories, and legacies of the American West. This is a foundational collection that will become invaluable to scholars and students studying modernism and queer theory across a range of disciplines including Gender and Sexuality Studies, Literary Studies, Indigenous Studies, and Latinx Studies.


Abstract: Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film Moana (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term imagineered imperial tourism. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term Imagineering, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies. Through a sustained study of Disney’s relevant productions—from the feature films Lilo & Stitch (2002) and Moana to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. 






Abstract: In September 2018, there was a surge of news stories about liquor store theft in Winnipeg,
Canada that resulted in public and political calls for action, and ultimately led to the
introduction of a range of new security and surveillance measures at government owned
liquor stores. This brief news cycle provided opportunities for various social actors, politicians,
and authorities to make claims about the nature of crime and society more broadly. This
article analyzes recent news media coverage of liquor store theft in Winnipeg, Canada and
the social construction of an ostensibly new crime trend in the city: “brazen” liquor store
thefts. We employ a qualitative content analysis of news articles about liquor store theft
published in local Winnipeg news media between 2018 and 2020 (n = 147). Drawing on the
social constructionist paradigm, and Fishman’s conceptualization of “crime waves,” we argue
that the framing of liquor theft via news media reflects longstanding cultural tropes and
myths about crime, as well as hinting at but never fully confronting, deeply engrained colonial
and racialized stereotypes. This paper contributes to our understanding of the ways putative
social problems are made intelligible in the media. We demonstrate how “crime waves” are
shaped by and shape dominant tropes about crime, safety, and citizenship. We argue that
something as mundane as liquor theft reveals much about the historical, colonial and social
roots of crime in local and national contexts.