“Retweet for More”: The Serialization of Porn on the Twitter Alter Community

This article examines the notion of seriality in the context of the Filipino alter community, a network of Twitter users producing, distributing, and consuming pornographic images. The alter community is prominent among Filipino gay men who satisfy their need for sexual arousal, collective identity, and validation of their sexuality in the alter community. Seriality is influenced by technological features and affordances of a media platform. In the case of Twitter, the platform’s short form formats and real-time content generation fosters a particular kind of seriality. This essay analyzes data from online observations, content analysis of tweets and profiles, and interviews and is informed by theories on seriality, gay sexuality, and Internet studies. In situating seriality within the context of gay amateur porn economy, this article argues that serial pornography is instrumental in satisfying both present and long-standing affective, sexual, and social needs of gay men. These needs, this essay claims, stem from long history of minoritization of homosexuality. As Twitter renders older tweets ephemeral and quantifies social engagement, seriality enables gay men to satisfy the aforementioned needs longer. Furthermore, this essay proposes that serial porn on Twitter brings new insights to how seriality is conceived. Serial porn images are strategically and carefully constructed narratives of sexual encounters aimed at garnering higher social engagement and validation. Thus, serial narratives can resolve present and urgent affective tensions and needs that unravel within an ongoing life narrative rather than working toward supporting a plausible ending, as seen in other serial forms. This article contributes to an understanding of how pornographic images and serial narratives fit into consumerist culture and how platforms exploit long-standing affective needs of sexual minorities to ensure extended production and consumption of contents.

This Is Not Reality (Ceci n'est pas la réalité): Capturing the Imagination of the People Creativity, the Chinese Subaltern, and Documentary Storytelling

How has documentary(re)presented subaltern creativity? Focusing on post-socialist, globalizing China, I examine documentary narratives by and about the creative subaltern originating from Chinese “cool cities” and expanding in the virtual space of global digital media. In these narratives, the creative subaltern has appeared obliquely, tangential to other narratives, subordinate to internationally recognized artists, or with a more central role, as the author or the protagonist of documentary films. I analyze these narratives’ entanglement with elitist definitions of creativity, the representation of subaltern reality, the expression of subjectivity, and the tension between the political and the personal. I argue that documentary has played an important albeit ambiguous role—provocative and empowering, but also, at times, formulaic and constricting—in shaping the discourse on the subaltern as a creative subject, by amplifying creativity’s indexicality to the real and obfuscating its imaginative quality and its ambition of breaking free from the real. Reflecting on the contemporary relevance of the Free Cinema movement’s advocacy for a subjective, personal approach to capturing the “imagination of the people” and exploration of lyric realism in documentary filmmaking, I propose that documentary can and should dare to “make poetry.” Forms of documentary expressivity such as poetic, not plot-driven narratives can reconcile imagination with reality and offer alternative, more appropriate means of capturing the complexity, heterogeneity, and contradictoriness of the subaltern condition, and for subaltern creativity to be expressed, appreciated, and affirmed.

Love and Duty: Translating Films and Teaching Online Through a Pandemic

The Chinese Film Classics project, launched in 2020, is an online research and teaching initiative aimed at making early Chinese films and cinema history more accessible to the general public. Led by Christopher Rea at the University of British Columbia, the project is centered on the website http://chinesefilmclassics.org and the companion YouTube channel Modern Chinese Cultural Studies. These two platforms together host new English translations of over two dozen Republican-era Chinese films, over two hundred film clips organized into thematic playlists, and a free online course of video lectures on Chinese film classics. This essay tells the story of how the Chinese Film Classics project grew from being a book project into a multiplatform translation, teaching, and publication project during the COVID-19 pandemic. Online teaching and social media publication involved multiple global storytellers: filmmakers, educators, translators, students, and the broader Internet public. How might moving things online change, or improve, the practice of cultural history? Rea highlights in particular the practical considerations facing the translator and gives examples of how, in a social media context, some of the stories are told not by creators and audiences but by data analytics.

The Networked Storyteller and Her Digital Tale: Film Festivals and Ann Hui’s 'My Way'

In cooperation with China’s Youku online channel, the Hong Kong International Film Festival Society commissioned Ann Hui to make a short film, My Way, to be part of an omnibus production, Beautiful 2012. In order to be considered for this commission, Hui needed to be acknowledged at international film festivals and be a recognized auteur known in the Asian region and beyond. Without Hui’s festival credentials and the reputation of the other directors in the curated production, the collected shorts would have little appeal to other programmers and distributors. Although she has famously resisted the label of “film auteur” in the past, Ann Hui undoubtedly stands as the most celebrated female director based in Hong Kong active before and after the establishment of the Hong Kong Special Administrative Region (HKSAR) in 1997.Given the length of her career as well as the impressive critical and scholarly attention her work has garnered, Hui serves as an exemplary case study of how film festivals play a vital role in the career of a Hong Kong female fiction film director. In the case of My Way, the festival circuit permits a specific type of production and digital distribution that enables Hui to craft a network narrative, which places the transition of its protagonist from male to female within a broader community connected through a shared gender identity. By analyzing Ann Hui’s presence at the festivals in Venice and Hong Kong, as well as the link between her festival exposure and her Internet success, My Way offers insight into the circuitous paths women filmmakers follow in order to tell their stories on transnational screens.

Narrating New Normal: Graduate Student Symposium Report

This article summarizes the events at Narrating New Normal: Graduate Student Symposium, held virtually on May 17–18, 2021. The symposium was organized by a number of graduate students from the School of Communication and Film (previously named the School of Communication) and was supported by Global Storytelling: Journal of Digital and Moving Images and the School of Communication and Film. It was attended by an international roster of graduate students hailing from academic institutions and think tanks in different countries. The presentations focused on the usage of the phrase new normal, a popular term during crises, in various geopolitical, geocultural, and historical contexts. The essay discusses first the background and theoretical framework that informs the symposium. Conceived during the COVID-19 pandemic, a global crisis that has seen the use of the phrase new normal in describing the shifts in our daily lives or imaginations of a postcrisis future. Taking a critical approach, the symposium aims to interrogate how the phrase is used by different social institutions, corporations, and individuals in various crises, considering how it normalizes precarity. This essay also summarizes the keynote lecture delivered by professor Michal Krzyzanowski (Uppsala University) on the discursive strategies of normalization and mainstreaming. It also covers the papers and discussions across four panels that examined the different aspects of normalization and of new normal in its various incarnations: geopolitics, networked media spaces, normalization and precarity, and popular culture. The article ends by offering a synthesis of the major threads that tie the presentations and addresses together. It proposes that while the phrase new normal normalizes and obfuscates precarity, it also suggests that there are pockets of optimism during crises where we can witness human resilience and individual agency.