I am pleased to begin the final issue of the year with a very special announcement. Screen Bodies is modifying its editorial direction and the kind of work it will feature. Many of our readers will already have a sense of these changes, made evident by the new Aims and Scope section we made available online earlier this summer, and by the journal’s new subtitle, The Journal of Embodiment, Media Arts, and Technology. As these indicate, the foundational commitments of the journal remain unchanged; however, moving forward will we intensify our focus on new media art, technology studies, and the interface of the sciences and the humanities. We will continue to examine the cultural, aesthetic, ethical, and political dimensions of emerging technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning, biotechnology, computer science, digital culture, and digital humanities. The journal will continue to prioritize matters of the body and screen media, both in terms of representation and engagement, but will emphasize research that critically reexamines those very concepts, as, for example, in the case of object-oriented feminism’s nonanthropocentric approach, which asks us to rethink what we mean by bodies and embodiment.
Andrew J. Ball
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
This special issue on “Queer Sinofuturisms” aims to explore how artists and writers working across various media in Sinophone contexts use science to envision — and indeed to fabulate — non-normative gender and erotic expressions in relation to the corporeal future of humanity. By investigating visions of the future that incorporate queerness and creative applications of computer and biotechnology, “Queer Sinofuturisms” aims to counter pervasive techno-Orientalist discourses, such as those discourses in the Blade Runner movies (Ridley Scott, 1982; and Denis Villeneuve, 2017) that frame “Asian” futures as strictly dystopian—and heteronormative by default. What happens, this issue of Screen Bodies asks, if we simultaneously destabilize techno-Orientalist narratives of the future while queering assumptions about the heteronormativity so often inscribed upon that future in mainstream iterations and embodiments? What kinds of fabulous fabulations might emerge?
Film Studies and Analytic Aesthetics in Dialogue
Mario Slugan and Enrico Terrone
Since the 1970s with Stanley Cavell's work, and later with contributions such as those by Noël Carroll, George Wilson, Gregory Currie, and Berys Gaut, film has become a respectable object of philosophizing among Anglo-Saxon philosophers. Still, when it comes to the relationship between film and philosophy, the focus is mostly on how philosophy can help better understand film with little or nothing on how film studies can contribute to philosophical aesthetics. This special issue is aimed at encouraging a more balanced interaction between analytic aesthetics and film studies.