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Josh Morrison, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

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Brian Bergen-Aurand

Screen Bodies 3.2 engages with a wide variety of topics—fat studies, contemporary queer cinema, (pre)posterity, puzzle films, grief and truth in filmmaking, feminist materialism, digitized bodies, food and horror, and Maghrebi cinema. As well, the selection of articles in this issue represents studies of several media—tv programs, films, publicity stills, and photographs—from a number of locations around the globe—North America, Europe, Africa, and Asia. What holds this general issue together, though, is a concern over expectation, assumption, and supposition: what we suppose screens and bodies do and what we suppose they do not do. As usual, with this journal, the focus of this consideration is doublehanded: screen as projection and screen as prohibition. The articles below explore the duality of screens and our responses to them. They engage screening expectation as showing, exposing, divulging, and, at the same time, as testing, partitioning, and withholding. To screen expectation is to reveal and conceal it, and, as these articles argue—each in their own way—this process is what we all engage in when we engage with screening.

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Kuang-Yi Ku

, scientists and commercial companies have been collaborating to synthesize cultured meat with an eye toward ameliorating the worldwide food shortage crisis. So it seems feasible to use these same technologies to produce “artificial tiger penis.” But the idea

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Introduction

Toward a Queer Sinofuturism

Ari Heinrich, Howard Chiang, and Ta-wei Chi

to LGBT-friendly education (including the right to legalized gay marriage, a model that extends, rather than revolutionizes, existing marriage structures), while, on the other, he was being threatened by (perceived) exposure to irradiated food from

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

the diamonds around Francie’s (Grace Kelly) slender neck in To Catch a Thief (1955) . The trope of gluttony or conspicuous consumption is manifested through objects as well, specifically food. In The Farmer’s Wife (1928) , a table is overcrowded

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

appetite. Indeed, “his self-styled identity as food connoisseur , fatso, and film director were inimitably intertwined” (6). Olsson considers such corporeal marketing of the franchise within the historical and cultural context of pre-and post-war America

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

physical state of affairs are explored. The creation crawls across the floor like a gigantic insect. With the connection of the victims’ various gastrointestinal tracts, food eaten by the first person in the chain passes as feces into the mouth of the

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

fluoroscope, the writer for Leslie's describes the fluoroscope image produced from a goose's digestion of food mixed with bismuth salt, which absorbs x-rays, as viewing a “shadow cast upon the fluorescent screen.” He continues by describing how the path of

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

Syrian fast-food restaurant in Istanbul—Yassin remonstrates with a compatriot over what he thinks is the inflated price of his falafel, then is berated by the owner, who takes away Yassin’s plate and castigates him as ungrateful and undeserving

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On Sinofuturism

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

Yunying Huang

Orwell's 1984” ( Robson 2017 ). Outside characterizations pay excessive attention to the sovereignty of China, and assume young Chinese are “too preoccupied with the internet playing games, ordering food, writing or reading, conducting business, etc., to