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Reimagining Frankenstein

Otherness, Responsibility, and Visions of Future Technologies in Ahmed Saadawi's Frankenstein in Baghdad and Jeanette Winterson's Frankissstein

Amal Al Shamsi

his body “exposed to the world, which resonates with Sheila Cavanagh's description of transgender shame, ‘wrought by exposure (vulnerability to surveillance)’” (2019: 55), preventing his positive investment in his body. Looking at himself in the lake

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Scenes of Subjection

Slavery, the Black Female Body, and the Uses of Sexual Violence in Haile Gerima's Sankofa

Z'étoile Imma

within a heteronormative and domesticated family structure, the captive and violated Black women in Sankofa are not offered protection, marriage, or domestic surveillance as a means to escape their vulnerability or to sequester their independence. The

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

are amusing ourselves to death, unaware of the fact that technology has become a tool for surveillance and the image a mere tool for seduction. We are ignorant about the apparatuses that increasingly take over control.” During the text projection

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Bartosz Stopel

character, Harry, works in Treasury Department and suspects he is under surveillance by a major agency. Ozzie's financial records and his memoir are accidentally found by gym employees who think they had discovered classified data that could be sold to the