![]() ![]() The first issue was released in November 2021 to coincide with the Hawkeye (2021) TV series. Nijkamp is the author of the five-issue miniseries Hawkeye: Kate Bishop, with illustrator Enid Balám, which stars the titular superhero. Nijkamp has also written multiple media tie-ins, such as her first graphic novel The Oracle Code (2020) for DC Comics. She has since released two more novels: Before I Let Go (2018) and Even If We Break (2020). Her debut novel This Is Where It Ends was published by Sourcebooks Fire, an imprint of Sourcebooks, in January 2016. In daily life, Nijkamp is a civil servant. She identifies as non-binary and homoromantic asexual and is a Catholic and autistic. Nijkamp holds degrees in philosophy, and medieval studies from the University of Groningen. As a child, she read the Dutch novel The Letter for the King by Tonke Dragt and felt compelled to start writing too. ![]() Nijkamp was born in Zwolle and raised in Twente, the Netherlands. Marieke Nijkamp is a Dutch New York Times bestselling author of novels for young adults. ![]()
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![]() ![]() ![]() What mattered was that she was a star on the diamond, where her father, a former Major Leaguer, coached her hard and counted on her to make him proud. Despite some teasing, being a biracial girl in a wealthy white family hasn't been that big a deal. She's adopted.Īlex has had a comfortable childhood in Madison, Wisconsin. An exceptionally accomplished debut." - Kirkus, starred reviewįor as long as she can remember, sixteen-year-old Alex Kirtridge has known two things about herself: She's a stellar baseball player. ![]() "Transracial adoption is never oversimplified, airbrushed, or sentimentalized, but instead, it's portrayed with bracing honesty as the messy institution it is: rearranging families, blending cultural and biological DNA, loss and joy. ![]() ![]() ![]() Observing this, his mommy Lilith has actually ended up being a whole lot extra overprotective so her rivals require he be sent out on a self- harmful objective to confirm himself. Waldo is a whole lot even more Neville Longbottom than Draco, however, along with is thoroughly unqualified for the placement as recipient to among one of the most famous of all negative wizarding member of the family. Mainly like the Malfoys back in a time when magic suggested something more than mosting most likely to an extravagant establishment, all the older sibling or siblings to Walder Corpselover have really acquired themselves eliminated attempting to confirm themselves worthwhile. ![]() THE (SORT OF) DARK MAGE is a desire apology regarding a negative wizard (not really) that is the last remaining to be individual of the Corpselover family tree. ![]() ![]() ![]() ![]() So, that raises the question: can there be a "female gaze" to counteract its current one? The "male gaze"? Or can the auteur's ability to frame bodies, female or male, change this perspective? Where does the gender of the auteur come into play? Or, is the inherent use of the camera by someone like Jane Campion challenging the institutional sanctions of the "male gaze" merely by creating new views and frames? Posing these questions alone suggests a myriad of dynamics at play here. In doing so, the framing cloaks every image in its inherent masculine point of view, as Mulvey suggests. This is especially significant in how female bodies are conveyed through the camera apparatus. According to film scholar Laura Mulvey, the "male gaze" is defined by the viewing experience of films centered around male pleasure and point of view as per her article "Visual Pleasure and Narrative Cinema." Cinema's history and visual composition, according to Mulvey, is shaped by a voyeuristic way of scrutinizing, meant to cater to the male perspective. ![]() |