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Sol Neely

This Screen Shot section includes three texts—an interview and two articles—that, together, occasion an unsettling movement in the development of an Indigenous phenomenology staged upon Screen Bodies’ concern for the critical tryptic experience, perception, and display. Such phenomenology, moreover, takes shape in the spirit of an enduring and persistent Indigenous cosmopolitanism, one organized by an appeal to a pan-tribal solidarity that is also not shy about drawing from efficacious sources of critique internal to European critical traditions. Together, these texts—and the source materials that inspire them—build rich ecumenical perspectives in the service of decolonial justice and pedagogy. And while the texts included here are composed in English, each draws from and references Indigenous languages, articulating one kind of Indigenous cosmopolitanism that makes use of English as a kind of “trade language.” To stage an Indigenous phenomenology by appeal to an Indigenous cosmopolitanism, in our contemporary political moment, thus calls for critical attention attuned to the perspectives, traditions, and imaginations of what Tlingit poet and author Ernestine Hayes describes as “Indigenous intellectual authority.” In this spirit, Indigenous cosmopolitanism occasions a decolonial-critical cosmopolitanism rooted not in the secular, Habermasian cosmopolitanism of Europe but in the modalities of consciousness, the literary genius and acumen, of Indigenous oral literary traditions. In the context of such a cosmopolitanism in which everyone is variably situated, across the spectrum that divides descendants of perpetrators and victims of settler colonialism, the critical imperative becomes a decolonial one, and non-Indigenous readers are called to shed the epistemological, ontological, and political priorities that broadly characterize European analytical and continental traditions, whatever their internal debates may be. Such an imperative forces phenomenological attention not only on the macrological instantiations of settler-colonial power but also against the “micrological textures of power” that ultimately shape the inner contours of self and, thus, what becomes phenomenologically legible to individuals situated in their cultural contexts.

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Kuang-Yi Ku

intervention would likely increase demand; the new market for synthetic horn would serve only as a cover-up for the ongoing illegal trade. Also, since faux horns are physically and genetically identical to the real ones, authorities will have a hard time

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Lowry Martin

juxtaposed with Nabil Ayouch's Much Loved (2015), a film that offers strong criticism of the underground sex trade in Morocco—which is particularly supported by rich Saudis. For the purposes of this article, I focus on the representations of queer male

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Toward a Queer Sinofuturism

Ari Heinrich, Howard Chiang, and Ta-wei Chi

expected to supply market demand for wild animal organs, which could in turn risk reinforcing demand and creating a cover for ongoing illegal trade. The resulting hybridized tiger penis from Ku's laboratory—perhaps resembling a sleek erotic toy more than an

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

[literally “pimp”] for Tunisia’s sex trade—Roufa confesses that he views himself as a trésor national ( Figure 1 ), but that his “specialty” is [now] women. The secondary character pictured in the frame actually enhances Roufa’s self-portrait as a

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On Sinofuturism

Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.

Yunying Huang

instrumentalized in its own pursuit of technological dominance” ( Roh et al. 2015 ). In the escalating trade war between the United States and China, which we see evidence of in the actions against Huawei and TikTok, 2 we see a shift in the imagination of China