Screen Bodies

The Journal of Embodiment, Media Arts, and Technology

Editor: Andrew Ball, Emerson College, USA

Founding Editor: Brian Bergen-Aurand, Bellevue College, Washington

Subjects: Media Studies, Visual Art, Cinema, Cultural Studies, Sociology, Communications, Computer Science

Screen Bodies Call for Papers 2022

Latest Issue Table of Contents

Volume 8 (2023): Issue 2 (Dec 2023)

Volume 8 / 2023, 2 issues per volume (summer, winter)

Aims & Scope

Screen Bodies is a multidisciplinary peer-reviewed journal that is devoted to the interface of art, science, and technology. The journal’s aim is to examine how bodies engage with and are engaged by screens. It features critical, theoretical, and empirical methods used in the diverse fields comprising the humanities, social sciences, computer science, communications, and the arts. 

Screen Bodies is a publication where scholars, creators, and scientists come together to map new media ecologies with an eye toward the aesthetic, ethical, and political dimensions of emerging technologies as well as to matters of design, programming, engineering, and performance.  

In addition to peer-reviewed research, Screen Bodies features commentaries by artists on a range of topics including issues of practice, as well as interviews and exhibition, book, and event reviews. 

Areas of focus include but are not limited to: media arts, cinema, intermediality, human-machine interface, interactivity and virtuality, intelligent and transactive spaces, smart environments, machine learning, generative art, biotechnology, virtual bodies, motion capture, AI, UX, IOT, social robots, gaming, and digital humanities. 

Manuscript submissions and proposals for creator commentaries, special issues, interviews, cover art, are other special projects are always welcome and should be submitted to Andrew J. Ball ( 


Screen Bodies is indexed/abstracted in:

  • European Reference Index for the Humanities and the Social Sciences (ERIH PLUS)

Andrew Ball, Emerson College, USA

Founding Editor
Brian Bergen-Aurand, University of Maryland Eastern Shore, USA

Managing Editor
Mani Saravanan, Nanyang Technological University, Singapore

Editorial Board
Olivia Banner, University of Texas at Dallas, USA
Catalin Brylla, University of Bournemouth, UK
Mauro Carbone, Université Jean Moulin Lyon 3, France
Lisa Downing, 
University of Birmingham, UK
Antke Engel, Institute for Queer Theory, Germany
Gabriel Cid de Garcia, Federal University of the State of Rio de Janeiro, Brazil
Carmela Garritano, Texas A&M University, USA
Sarah Godfrey, University of East Anglia, UK
Sara Hall, University of Illinois at Chicago, USA
Sophia Harvey, Vassar College, USA
Ari Larissa Heinrich, The Australian National University, Australia
Daniel Humphrey, Texas A&M University, USA
Katrien Jacobs, Chinese University of Hong Kong
Jihoon Kim, Chung-ang University, South Korea
Katharina Lindner 
, University of Stirling, UK
Laura U. Marks, Simon Fraser University, Canada
Fran Martin, University of Melbourne, Australia
Robert McRuer, The George Washington University, USA
Anna Munster, University of New South Wales, Australia
Joseph C. Schaub, University of Notre Dame Baltimore, USA
Aaron Taylor, University of Lethbridge, UK
Michele White, Tulane University, USA


Manuscript Submission

Please review the submission and style guidelines carefully before submitting.

Screen Bodies is a multidisciplinary peer-reviewed journal that is devoted to the interface of art, science, and technology. The editors welcome contributions. Authors should submit articles as attachments by e-mail, formatted as Microsoft Word or Rich Text Format (RTF) files. Electronic submissions are preferred, but mailed contributions will be reviewed. Please note that all correspondence will be transmitted via e-mail. Submissions without complete and properly formatted reference lists may be rejected. Manuscripts accepted for publication that do not conform to the Screen Bodies style guide will be returned to the author for amendment.

Article submissions and book reviews should be sent to the editor at

Please refer to the Berghahn journal contributors' page for general information and guidelines regarding topics such as article usage and permissions for Berghahn journal article authors.

For queries regarding book reviews, review guidelines, electronic review copies, please contact Books to review? We welcome titles on media studies, cinema, and contemporary art. Please contact or send books directly to:
Screenbodies Editor
13 Craigie St, Apt A
Somerville, MA 02143

Ethics Statement

Authors published in Screen Bodies certify that their works are original and their own. The editors certify that all materials, with the possible exception of editorial introductions, book reviews, and some types of commentary, have been subjected to double-blind peer review by qualified scholars in the field. While the publishers and the editorial board make every effort to see that no inaccurate or misleading data, opinions, or statements appear in this journal, they wish to make clear that the data and opinions appearing in the articles herein are the sole responsibility of the contributor concerned. For a more detailed explanation concerning these qualifications and responsibilities, please see the complete Screen Bodies Publication Ethics Statement.

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Dallas Buyers Club (2013) offers a stereotypical representation of trans themes and images that do not fit contemporary gender-diverse communities, creating negative images and damaging connotations that could last for years. This article explores the stereotypical characterization and clichéd narrative devices deployed to create the fictitious character of Rayon in Dallas Buyers Club and examines the ongoing problematic of trans representation within mainstream cinematic texts by comparing Dallas Buyers Club with The Crying Game (1992), Boys Don’t Cry (1999), and Transamerica (2005). To contextualize the ongoing issues raised by the film and its screenplay, this article reads Rayon as one example in a long line of socially proscribed Hollywood “fallen women,” here, with the narrative displaced onto the transgender body.

Redefining Representation

Black Trans and Queer Women’s Digital Media Production



This article explores Black trans and queer women’s use of digital media platforms to create alternate representations of themselves through a process that addresses health and healing beyond the purview of the biomedical industrial complex. These activities include trans women of color using Twitter to build networks of support and masculine of center people creating their own digital health zine, two projects that value the propagation of crowd-sourced knowledge and the creation of images that subvert dominant representations of their communities. I argue that this process of redefining representation interrupts the normative standards of bodily representation and health presented in popular and medical culture. My research connects the messages within the seemingly objective realm of biomedicine to the social contexts in which they emerge and are shared. By highlighting two examples where I see these connections being made, I shift attention to the images deployed to redefine representations within these liminal communities.

“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup



Women beauty vloggers, or video bloggers, produce YouTube self-representations as a means of considering cosmetics, their appearance, and cultural expectations about femininity. These vloggers developed “the power of makeup” videos and related social media texts in order to critique makeup shaming and attempts to limit women’s representations and aesthetic choices. Their incomplete cosmetic applications are connected to and rework reality television makeovers and feminist considerations of beauty. Feminist scholars, including Bordo and Bartky, suggest that makeovers direct women to pursue transformations into better selves and to follow beauty experts’ directions. In contrast to these forms of control, beauty vloggers have more authority over their practices. They use the term “transformation” to describe applications that are not focused on ideal looks or ever-improvable selves, and reform beauty culture around participants’ interests and artistry rather than male heterosexual expectations. These women’s practices of self-definition challenge mainstream conceptions of art, makeup, and femininity.