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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

extends Inkanyiso’s work in its call for more inclusive views on race, gender, and sexuality and its rallying cry against gender-based violence in South Africa and around the world. Figure 2 Collen Mfazwe: We Live in Fear . I first encountered

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

transgress natural boundaries. These unnatural transgressions provoke fears of contamination and infection, and thus our horrified response is to recoil from what is perceived as a disgusting, dangerous threat. The horror response on this account consists of

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Voicing Pride and Futurity in the Age of A.I.

An Interview with Playwright Pao-Chang Tsai on Solo Date

Jing Chen and Pao-Chang Tsai

-in-Residency in Cité Internationale des Arts in Paris in 2015. I was invited to create something related to the topic of technology. As a theater practitioner, I always have this fear that technology will take away the warmth of the theater. Yet being challenged

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Patrick Keating

ideological cues (including some cues that we might firmly reject in everyday life), Hollywood movies prompt us to hope for certain outcomes and fear others; this process increases the intensity of our emotional responses. According to Berliner, psychologists

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Carl Plantinga

us to understand the role that such stories play not only in the political and social currents of a time and place, but also in individual lives. An ethics of engagement should help us decide how to respond to that role. Some might fear that an

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Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait

of the anthology addresses the subject of “Genre and Emotions” with regard to horror, political fiction, and science fiction, respectively. Stacey Abbott's chapter “Loss is Part of the Deal: Love, Fear and Mourning in TV Horror” critically approaches

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

theorization of intimacy as affect. At the macro-level, he explores the wide-scale panics that arise around the specter of the Child and the fear of predation or exploitation via webcams or chat rooms. In these discussions, McGlotten argues that the outcries

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Karen Fiss

exonerated because their victims did not resist or were incapacitated by fear, shame, or intoxication. On the other side of the country, a student at Columbia University became an icon in this ongoing legal struggle by carrying her mattress around with her

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

the future itself is arguably informed by the fears and fantasies that are projected on the screen. Science fiction often features cutting-edge special-effects technologies and, as Stacey Abbott notes, science fiction cinema and special effects (FX

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Sol Neely

Deadgirl , the lips are reddish gray, invoking the deadness of the girl, with the tagline, “You never forget your first time.” Creed’s book features ruby red lips parted slightly to reveal teeth, invoking the mythic fear of the vagina dentata . In both