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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

engagement and service. Although the use of AI and synthetic organisms for sex, companionship, labor, or food is naturalized in the futuristic world of 2049 , the film foregrounds issues that are central to intimacy ethics, including emotional attachment

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Lowry Martin

traditionally gendered chores such as preparing food, washing clothes, and taking bread to the baker. It is only as he grows that his nonstereotypical behavior, such as crying easily, becomes a source of ridicule for nonconformity with expectations regarding

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

involved in dramatic performance. Bharata defines rasa in the following way: [R]asa is so called because it is something savored. … Just as discerning people relish tastes when eating food prepared with various condiments and in doing so find pleasure

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

he concludes that media violence does contribute to aggressive behavior. By comparing media violence to smoking, candy, and spicy food, Zacks presents the viewer as a passive consumer of harmful or extreme experiences, and argues that merely consuming

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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