...Erin Greer The episode “Nosedive” from the Netflix series Black Mirror (dir. Joe Wright, Netflix, UK, 2016) provides a dystopian version of a popular narrative about digital culture, according to which the ascent of social media marks the “feminization of the Internet,” its transformation from...

... the pulse of Black life; the role of digital media in the lives of twenty‐first‐century Black Americans mirrors that of Black magazines and newspapers in the nineteenth and twentieth centuries. Of particular note is the way that Black youth, especially Black girls, use digital media spaces to make...

... in the “plight of black males” was a twentieth-­century tragedy, Watkins’s sense that the vir- tual Tupac will be a “real” artist is part of twenty-­first-­century media farce. Rodowick’s meditation on the shift from film recording to digital composition and its implications for the real helps explicate...

... racial difference. While some works evoked the history of sea passage, with titles such as Long Journey or Trade Winds, Piper also included several works that sought to make more concrete the conditions of the lived black body in an emerging digital techno­ culture. Ashley Dawson has...

.... Interfaces of Identity  •  131 15. Herbert Gans, “The Possibility of a New Racial Hierarchy,” in The Cultural Territories of Race: Black and White Boundaries, ed. Michèle Lamont (Chicago: University of Chicago Press, 1999), 383. 16. Clive Norris, “From Personal to Digital: CCTV...

... Sandberg's ongoing Lean In project to a longer genealogy of cybernetic imaginaries, capitalist economism, and governmentality, the author questions the assumptions and occlusions that result when sociality and digitality are conflated. Figure 1. Louisa Minkin, detail of Yes to Life, 2013, digital video...

..., demeaned, and sometimes destroyed.7 In the US, racist theories maintained the contradiction at the heart of the nation’s founding: that of all men being created equal and black slaves counting as three-fifths human (thus allowing them to be accounted for, but not themselves count). Even after eman...

...Nazli Akhtari Abstract This article reveals how engagements with the photographic archives of premodern Iran and the Persian carpet break open transtemporal, affective, and queer interplays in diaspora. Examining a digital remix of a photograph of a Qajar princess, ‘Ismat al-Dowlah, from...

...Clara Bradbury-Rance Abstract Across her body of work in film, television, and digital media, Desiree Akhavan has captured the awkward politics of cultural production for female filmmakers and media-makers. Yet she has also refused to straightforwardly align her work with feminist critiques...

... of the spectacle of disaster derived from the perceived safety and comfort of the world. The digital creation of comets, floods, earth- quakes, tidal waves, and enemies made these threats safe too. Many critics writing about these popular films at the time were frustrated by their lack of serious reference...

.... In another vein, Kunuk’s Aqtuqsi (My Nightmare, Canada, 1996) deploys a surrealist mode of experimental filmmaking — combining stop-­motion ani- mation and black-­and-­white photography — in depicting the story of a young girl’s dream. The scenes set in the waking world are shot in black and white...

...Zoë Druick In her digital video work Mass Ornament (2009), the Testament series (2009), and Now He's Out in Public and Everyone Can See (2012), US artist Natalie Bookchin gathers clips from video blogs in which people perform dances and discuss personal and political issues, from sexuality...

... and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers...

... positioned as the fat of US media culture? One possible answer lies in television’s new “workout plan” —  its cross-­platform facility and increasingly promiscuous flows across various media forms. The Biggest Loser’s mobility beyond traditional viewing platforms to include digital...

...: • black-and-white open reel • the original, failed VHS Beta • VHS • 3/4 inch • 3/4 inch SP • 8mm video • hi-8 mm video • beta SP • one inch • CD-ROM • mini-DV Feminism and Video  •  203 • hi-def mini-DV • DVD • digital beta • DV cam I have not yet...

... understand a place as a territory that we occupy, pass through, fight over, or leave, in Paris: Ville Invisible, where the “black box” of Paris opens digitally to ongoing inquiry, various types of metropolitan being are constructed through the commingled navigation of and collaboration in the online...

...Linda Williams This essay's point of departure is the question of how images of death and torture are literally and metaphorically framed by the people who take them and how they are further received by the publics who see them. Beginning with a comparison of two digital headshots of an Arab enemy...

... the effects on experimental media wrought by the proliferation of digital technologies, the deterioration of media formats, the migration of the moving image into the museum, the experimental community's greater sense of itself as international, and shifts in the kinds of institutions and informal structures...

... and phenomenology, see Domietta Torlasco, The Heretical Archive: Digital Memory at the End of Film (Minneapolis: University of Minnesota Press, 2013). On futurity in Black feminist and queer theory, see Tina M. Campt, Listening to Images (Durham, NC: Duke University Press, 2017); and Kara Keeling, Queer Times...

... Volume Index Volume 28 corresponds to issues 82 – 84 Catherine L. Benamou and Bienvenida Matías Remembering “Punto de Vista: Latina” in Two Voices. No. 82: pp. 135 – 45 Jonathan Cohn Female Labor and Digital Media: Pattie Maes, Postfeminism, and the Birth of Social...