Sade for Sade’s Sake: Inside Paul Chan’s Transmedial Laboratory by Olivier Delers
Looking for Something to Signify: Gender Performance and Cuban Masculinity in Viva by David Yagüe González
Screen Shot: Queer Sinofuturisms Edited by Ari Heinrich, Howard Chiang, and Ta-wei Chi
Toward a Queer Sinofuturism by Ari Heinrich, Howard Chiang, and Ta-wei Chi
On Sinofuturism: Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I. by Yunying Huang
Paired Interviews: Two Taiwan Authors on Queer A.I., Desire, and Cyborgs
A Banal Apocalypse: An Interview with author Ta-wei Chi on the New Translation of The Membranes by Jane Chi-hyun Park
Voicing Pride and Futurity in the Age of A.I.: An Interview with Playwright Pao-Chang Tsai on Solo Date by Jing Chen
The New Imitation Game: The Queer Sinitic Potentialities of Internet Romance Games by Carlos Rojas
The Tiger Penis Project by Kuang-Yi Ku
Queer Sinofuturism: The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang’s Uterus Man by Gabriel Remy-Handfield
Elizabeth Otto and Patrick Rössler, eds. Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School
Reviewed by Barbara Mennel
Zélie Asava. Mixed Race Cinemas: Multiracial Dynamics in America and France
Reviewed by Tru Leverette
Volume 5 / 2020, 2 issues per volume (summer, winter)
Aims & Scope
Screen Bodies is a multidisciplinary peer-reviewed journal that is devoted to the interface of art, science, and technology. The journal’s aim is to examine how bodies engage with and are engaged by screens. It features critical, theoretical, and empirical methods used in the diverse fields comprising the humanities, social sciences, computer science, communications, and the arts.
Screen Bodies is a publication where scholars, creators, and scientists come together to map new media ecologies with an eye toward the aesthetic, ethical, and political dimensions of emerging technologies as well as to matters of design, programming, engineering, and performance.
In addition to peer-reviewed research, Screen Bodies features commentaries by artists on a range of topics including issues of practice, as well as interviews and exhibition, book, and event reviews.
Areas of focus include but are not limited to: media arts, cinema, intermediality, human-machine interface, interactivity and virtuality, intelligent and transactive spaces, smart environments, machine learning, generative art, biotechnology, virtual bodies, motion capture, AI, UX, IOT, social robots, gaming, and digital humanities.
Manuscript submissions and proposals for creator commentaries, special issues, interviews, cover art, are other special projects are always welcome and should be submitted to Andrew J. Ball (firstname.lastname@example.org).
Ira Allen, Northern Arizona University, USA
Jiaying Sim, Digipen Institute of Technology, Singapore
Olivia Banner, University of Texas at Dallas, USA
Catalin Brylla, University of Bournemouth, UK
Lisa Downing, University of Birmingham, UK
Antke Engel, Institute for Queer Theory, Germany
Gabriel Cid de Garcia, Federal University of the State of Rio de Janeiro, Brazil
Carmela Garritano, Texas A&M University, USA
Sarah Godfrey, University of East Anglia, UK
Sara Hall, University of Illinois at Chicago, USA
Sophia Harvey, Vassar College, USA
Ari Larissa Heinrich, UC San Diego, USA
Daniel Humphrey, Texas A&M University, USA
Katrien Jacobs, Chinese University of Hong Kong
Jihoon Kim, Chung-ang University, South Korea
Katharina Lindner †, University of Stirling, UK
Laura U. Marks, Simon Fraser University, Canada
Fran Martin, University of Melbourne, Australia
Robert McRuer, The George Washington University, USA
Anna Munster, University of New South Wales, Australia
Joseph C. Schaub, University of Notre Dame Baltimore, USA
Aaron Taylor, University of Lethbridge, UK
Michele White, Tulane University, USA
Screen Bodies is a multidisciplinary peer-reviewed journal that is devoted to the interface of art, science, and technology. The editors welcome contributions. Authors should submit articles as attachments by e-mail, formatted as Microsoft Word or Rich Text Format (RTF) files. Electronic submissions are preferred, but mailed contributions will be reviewed. Please note that all correspondence will be transmitted via e-mail. Submissions without complete and properly formatted reference lists may be rejected. Manuscripts accepted for publication that do not conform to the Screen Bodies style guide will be returned to the author for amendment.
Those interested in submitting materials for review or in writing reviews or review essays should contact the review editors, Nicholas de Villiers (email@example.com) or Steen Ledet Christiansen (firstname.lastname@example.org).
Please refer to the Berghahn journal contributors' page for general information and guidelines regarding topics such as article usage and permissions for Berghahn journal article authors.
Authors published in Screen Bodies certify that their works are original and their own. The editors certify that all materials, with the possible exception of editorial introductions, book reviews, and some types of commentary, have been subjected to double-blind peer review by qualified scholars in the field. While the publishers and the editorial board make every effort to see that no inaccurate or misleading data, opinions, or statements appear in this journal, they wish to make clear that the data and opinions appearing in the articles herein are the sole responsibility of the contributor concerned. For a more detailed explanation concerning these qualifications and responsibilities, please see the complete Screen Bodies ethics statement.