Published: 2022-11-17

Editorial

Letter from the Editors

Philippa Orme, Isaac Pletcher, Wesley Kirkpatrick

1-5

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Feature Articles

(Guilty) Viewing Pleasures and Reality TV: Queer Viewers Decoding the Greek Version of The Bachelor

Spyridon Chairetis

6-36

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Besideness: distance and proximity as queer disorientations to inhabit projective moving image installations

Danilo Baraúna

37-66

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Emotional Registers of Queer Representation: Gothic Expression in The Rocky Horror Picture Show and Vivienne Medrano’s “Addict”

John Francis

67-94

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Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies

Emma Morton

95-116

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I’m a Cyborg, But That’s OK: The Boundary Blurring Work of Lynn Hershman Leeson

Annie Ward

117-142

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P.O.V. Featurettes

“I’m gonna study everything!”: Bisexual Orientations in Dana Terrace’s The Owl House

Lindsey Pelucacci

143-160

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“Nomi Malone is what Las Vegas is all about!”: Phallic women in Showgirls

Elizabeth Hendy

161-174

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The Spanish Lesbian Collective LSD: A Closer Look to Their Video-Essay Retroalimentación (1998)

Esther Pérez Nieto

175-189

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Butch Orientations: Locating Queerness in Daryl Dixon from The Walking Dead

Sam Tabet

190-206

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Video Essays

The Queer Monster: Putting Séance and Bit in Conversation

Cameron Mumford

207-214

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Book Reviews

Review: Efrén Cuevas, Filming History from Below: Microhistorical Documentaries

Stuart A. Neave

215-222

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Review: Greg Garrett, A Long, Long Way: Hollywood's Unfinished Journey from Racism to Reconciliation

Clement Obropta

223-228

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Dossier: Translating German Film History

A Functionalist Cinema: “Twilight of Film” by Raoul Hausmann

Paul Flaig

229-243

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For Posterity’s Sake: Emil Jannings’ Autobiographical (Self-)Denazification

Wesley Kirkpatrick

244-255

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‘Text-Praxis’ and Modes of Production: Harun Farocki’s Collected Writing Between 1964 and 2000

Laura Lux

256-267

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