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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

are particularly acute for women like Gal Gadot and Emma Watson, whose images have been abused for pornographic purposes via software released on the dark internet ( Cole 2018 ). Similar to the ethical issues surrounding synthetic biology, uncontrolled

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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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On Sinofuturism

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

Yunying Huang

Dominant design narratives about “the future” contain many contemporary manifestations of “orientalism” and Anti-Chineseness. In US discourse, Chinese people are often characterized as a single communist mass and the primary market for which this future is designed. By investigating the construction of modern Chinese pop culture in Chinese internet and artificial intelligence, and discussing different cultural expressions across urban, rural, and queer Chinese settings, I challenge external Eurocentric and orientalist perceptions of techno-culture in China, positing instead a view of Sinofuturism centered within contemporary Chinese contexts.

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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

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

issues of sex work, the internet, and lesbian desire, and diverges drastically from Barbara Wong’s more staid documentary, Women’s Private Parts (2001), which relies on the televisual talking head interview and observational camera to highlight the way

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Brian Bergen-Aurand

screens. The journal considers moving and still images, whether from entertainment industries, information technologies, or news and media outlets, including cinema, television, the Internet, and exhibition spaces. It investigates the private experiences

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

Health Guide are but two examples of how Black queer and trans women use digital media to turn scraps into something precious (“A Herstory of the #BlackLives-Matter” 2014) . Like chitterlings, the discarded pig intestines of the Internet, can be reworked