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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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“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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Introduction

Toward a Queer Sinofuturism

Ari Heinrich, Howard Chiang, and Ta-wei Chi

article “On Sinofuturism: Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.” She aims to reinforce the radical potential of Sinofuturism as a concept by focusing on the creative expression of young people on the internet

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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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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

this generation went through: “They grew up in a China populated by skyscrapers and superhighways with a post-internet culture in which an encyclopedic range of influences collide at the speed of light” (2018: 6). Inspired by these radical changes in