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Dan Flory

“All our phrasing—race relations, racial chasm, racial justice, racial profiling, white privilege, even white supremacy—serves to obscure that racism is a visceral experience.” — Ta-Nehisi Coates (2015) One of the more notorious sequences in D. W

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Dan Flory

This article modifies philosopher Tamar Szabó Gendler's theory of imaginative resistance in order to make it applicable to film and analyze a distinctively adverse kind of resistant response to James Cameron's Avatar (2009). Gendler's theory, as she states it, seeks to explain resistance to literary stories in a straightforwardly cognitivist, but narrowly rationalistic fashion. This article introduces elements from recent work at the intersection of philosophy of film and the emotions to augment Gendler's theory so that it can be used to explain why some viewers hesitate or even refuse to imagine some cinematic fictional worlds. The method used is analytic philosophy of film. The analysis reveals that some viewers are cognitively impoverished with regard to imagining race in general: they will likely have extreme difficulty in centrally imagining racially "other" characters, which also bodes ill for their real-world prospects for moral engagements concerning race.

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Tru Leverette and Barbara Mennel

Zélie Asava. Mixed Race Cinemas: Multiracial Dynamics in America and France (New York Bloomsbury, 2017). 216 pp., ISBN: 1501312456 (paperback: $35.96) Reviewed by Tru Leverette On the cusp of the twenty-first century, Danzy Senna

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

arts, which embraced primitivism in an attempt to “exorcize the interiorized structures separating [European artists] from the authenticity of their own childhoods and of the childhood of their ‘race’” ( Leighten 2013: 60 ). 4 Primitivism in animation

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Elizabeth Jochum, Graeme Stout, and Brian Bergen-Aurand

Jennifer Rhee, The Robotic Imaginary: The Human and the Price of Dehumanized Labor (Minneapolis: University of Minnesota Press, 2018). 240 pp., ISBN: 978151790298 (paperback, $27)

Soraya Murray, On Video Games: The Politics of Race, Gender and Space (New York: I. B. Tauris, 2018). xv + 315pp., ISBN: 9781786732507 (PDF eBook, $82.50)

Ari Larissa Heinrich, Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Durham, NC: Duke University Press, 2018). 264 pp., ISBN: 9780822370536 (paperback, $25.95)

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Erin Ash

Media are important sites for examining issues of power and privilege, particularly with regard to race. Beyond instances of specific representations, however, the narrative tropes—or common stories that are told across all types of media

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Stephen Prince

In this issue of Projections , Dan Flory examines issues of race in film from a singular angle. He is interested in understanding how disgust reactions, manifested by viewers in relation to characters and situations, are inflected by racial

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Jess Dorrance

W. E. B. Du Bois's album Types of American Negroes, Georgia, U.S.A. as shown in Shawn Michelle Smith's book Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (2004). Image courtesy of the artists. The third

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Andrew J. Ball

and sexuality studies, and in critical race and ethnic studies. These many disciplinary and topical elements are elegantly assembled in this issue's special section entitled “Queer Sinofuturisms.” We are particularly excited to contribute to the

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

health and social needs are addressed—unlike with other types of difference, such as race—the use of such hashtags as #girlslikeus allows for a network where this information can be dispensed, even with anonymity. In addition, transitioning “vlogs” or