This issue of Projections focuses on movie violence, a topic of continuing controversy. Concerns about screen violence are not new. Because of their visceral power, popular appeal, and the seeming ease with which they bypassed established channels and norms of socialization, movies swiftly drew the attention and scorn of social critics and reformers. The city of Chicago passed the nation’s first movie censorship ordinance in 1907. Numerous state and municipal censor boards were established in its wake, and movie violence drove the first court-adjudicated censorship case in American film history. The James Boys in Missouri (1908) and Night Riders (1908) were Westerns that Chicago authorities deemed to be immoral because they concentrated on showing the exploits of violent outlaws. The Chicago reformers felt that the films lacked an appropriate moral balance in failing to devote sufficient attention to law-abiding characters.
As the subtitle of the journal indicates, the intersection of movies and mind is a key theme of our coverage. First up in this issue is Jeffrey Zacks’s wide-ranging discussion of how our brains process the sights and sounds of motion pictures. He gives us a précis of his new book, Flicker: Your Brain on Movies, which aims to introduce a wide audience to the psychology and neuroscience that underlie our experience of motion pictures. He discusses the ways viewers parse narratives and build models of story events, perceive shot changes,
respond emotionally to fictional situations, and recall filmic information, and he ends by speculating about the future of virtual entertainment. In some not-too-distant future, will movies jack directly into our central nervous system? The readership of Projections is a key constituency of the research that guides Zacks’s discussion. His contribution differs a little from our usual style. Because it derives from a book that he has aimed at a broad audience, the tone of the writing is a bit more informal than is the norm in scholarly venues. Our readers should find the discussion both lively and fascinating. I am grateful to Jeff for providing us with this overview of his work.
Andrew J. Ball
critical methods to show that the feminist potential of the slasher genre was co-opted and transformed by major studios to reinforce the norms of cis white masculinity. She introduces her concept of “the hegemonic imagination” to demonstrate how an
Visibility and Screen Politics after the Transgender Tipping Point
certainly an important task to consider the homonormative, nationalist norms embedded in the romanticized ideal of trans and queer visibility. It might be time to abandon mainstream visibility politics, to follow the argument of the editors of the anthology
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
posting images that capture widely circulating ideas about lifestyle, social norms, and cultural engagements (e.g., food, travel, outfits). Although the two apps tend to diverge in terms of the kind of population they draw ( Douyin more urban and