The genre also deals with male/female categories, showing how female roles can differ from feminine roles. Hence feminism influences the film industry by creating new ways of exploring and looking at masculinity/femininity and male/female roles. A contemporary example of feminist science fiction television can be found in "Orphan Black", which deals with issues of reproductive justice, science, gender, and sexuality. By the 1970s, the science fiction community was confronting questions of feminism and sexism within science fiction culture itself. Multiple Hugo-winning fan writer and professor of literature Susan Wood and others organized the "feminist panel" at the 1976 World Science Fiction Convention against considerable resistance. Reactions to the appearance of feminists among fannish ranks led indirectly to the creation of "A Women's APA" and WisCon. Feminist science fiction is sometimes taught at the university level to explore the role of social constructs in understanding gender. In the 1970s, the first feminist science fiction publications were created. The most well-known are fanzines "The Witch and the Chameleon" (1974–1976) and "Janus" (1975–1980), which later became "Aurora SF" (Aurora Speculative Feminism) (1981–1987). Windhaven, "A Journal of Feminist Science Fiction" was published from 1977 to 1979 by Jessica Amanda Salmonson in Seattle. Special issues of magazines linked to science fiction meetings were also published at that moment, like the Khatru symposium's fanzine "Women in Science Fiction" in 1975. "Femspec" is a feminist academic journal specializing in speculative fiction, including science fiction, fantasy, magical realism, mythic explorations in poetry and post-modern fiction, and horror. There is a conscious multicultural focus of the journal, both in content and in the diverse makeup of its editorial group. The first issue came out in 1999 under the editorial direction of founder Batya Weinbaum, who is still the Editor-in-Chief. "Femspec" is still publishing and has brought over 500 authors, critics and artists into print. Having lost their academic home in May 2003, they increasingly cross genres and print write-ups of all books and media received, as well as of events that feature creative works that imaginatively challenge gender such as intentional communities, performance events, and film festivals.