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Brian Bergen-Aurand

This issue acknowledges the work of Rosalie Fish (Cowlitz), Jordan Marie Daniels (Lakota), and the many others who refuse to ignore the situation that has allowed thousands of Indigenous women and girls to be murdered or go missing across North America without the full intervention of law enforcement and other local authorities. As Rosalie Fish said in an interview regarding her activism on missing and murdered Indigenous women and girls (MMIWG),

"I felt a little heavy at first just wearing the paint. And I think that was . . . like my ancestors letting me know . . . you need to take this seriously: “What you’re doing, you need to do well.” And I think that’s why I felt really heavy when I first put on my paint and when I tried to run with my paint at first. . . . I would say my personal strength comes from my grandmas, my mom, my great grandma, and I really hope that’s true, that I made them proud." (Inland Northwest Native News interview)

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Editorial

Screening Vulnerability

Brian Bergen-Aurand

rather than capability or ability—with their links to energy, strength, power, and vitality—began to hold a more central place in my research and critical thought. I began rethinking what bodies do and what they do to us when we experience them

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

situation, more sustainable and livable imaginaries, and politics of resistance that can help to challenge these conditions politically, ecologically, and academically everywhere. Here is to hoping that there is enough strength left to imagine a different

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

compare the two photographs, the difference is in the looks of the subjects in both images. While the self-portrait conveys the quiet strength of the photographer with a contemplative attitude toward her work and the situation to which it speaks, it