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Rainer Reisenzein

contents of internet fan forums) can be useful to substantiate claims about typical user reactions and hypotheses about cultural contents (e.g., beliefs, social norms) that influenced these reactions. Although I thus fully endorse Smith’s proposals for how

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Catalin Brylla and Mette Kramer

newscasts, commercials, and internet memes. 2 Notable exceptions include the cultural contextualization of spatiotemporal perception (e.g., Barratt 2014 ; Coëgnarts and Kravanja 2015 ) and the cultural-historical contextualization of spectatorship (e

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On Sinofuturism

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

Yunying Huang

orientalizing contexts. To envision equitable futures—and to avoid reinforcing stereotypes—we need more pluralistic understandings of Chinese cultures. In this article, I consider how Chinese internet and the forms and aesthetics of contemporary artificial

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Emma Celeste Bedor

? (IAU; isanyoneup.com). What started as a destination for friends who requested nude photos of his sexual conquests soon grew into a hub for exploitation and revenge, earning Moore the reputation of “the Internet’s most hated man” Lee 2012 ; Stern

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

filmmakers and their subjects part of the picture. Both directors openly and self-reflexively acknowledge the presence of the camera and sound-recording equipment, the existence of other screen cultures (e.g., broadcast television, the internet), and the role

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The Self On-Screen

Pavel Pyś Reflects on The Body Electric

Pavel Pyś

, motion capture, avatars, computer-generated animations), and many were grouped under the moniker “post-internet art,” which, by the time the exhibition had opened, had become an exhausted term with little currency (see Droitcour 2014 ). The impetus was

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Barbara Pollack

Climbing, climbing the circular staircase of a decaying art deco apartment house, a throwback to Old Shanghai’s grandeur in the 1930s, I felt like I was stepping back in time. It was fall of 2011, and I was accompanied by a twenty-seven-year-old artist named Lu Yang who led me on this upward trek to a studio. As Lu Yang opened the green door to the space, I was immediately thrown forward from the past to the future. The darkened room was packed with computer monitors flickering with the running text of chatrooms. Aquariums, filled with dead frogs floating in formaldehyde, gave off an eerie green light. There were no sketches or paintings or anything like traditional art making. What an awakening! I realized that this was the kind of art I had been searching for on my trips to China since 2004. I was looking for an artist whose work reflected the enormous upheaval of the Reform era, the influx of Western goods, the possibilities of the internet, and the shock to the psyche that these changes had wrought. Lu Yang completely fit the bill.

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

with trolling and bullying, including insulting comments about their appearance and video production skills and threats that vloggers will be stalked and injured, are consistent with the negative commentary that many women experience in Internet

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Brian Bergen-Aurand

, the Internet continued to disseminate more negative reviews of the rebooted Ghostbusters (2016)—starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones, directed by Paul Feig, written by Katie Dippold and Paul Feig. I think the film

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Akkadia Ford

Club is a feature-length film (117 minutes) classified as a “Biography/Drama/History” on the Internet Movie Database ( IMDb 2013a ). It relies on traditional Hollywood genre conventions, fictional narrative structures, and filming styles to convey the