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In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood’s vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa.

Films compiled from archival footage unsettle assumptions about film and photography’s ability to capture truth—and the archive’s ability to contain it—through a critical practice of pirating. Sandhya Suri’s Around India with a Movie Camera, Rona Sela’s Looted and Hidden: Palestinian Archives in Israel, and Kamal Aljafari’s Recollection manipulate images from archives to expose the technical and institutional manipulations within colonial propaganda, posing questions about how and when visual evidence becomes truth, with implications for mobile phone eyewitness videos today—and also deepfakes in viral disinformation.

See PDF] Entwining Contemporary environmentalist media operates across many forms and platforms, from legacy formats of theatrical cinema and broadcast television to emerging digital and networked formats. Since they consume large amounts of energy, digital technologies contribute to environmental catastrophes (Maxwell and Miller 2012; Starosielski and Walker 2016). Since community media does not travel through festival or broadcast circuits, scholars largely ignored how its participatory functions afforded marginalized voices the means to intervene in state, corporate, and entertainment media. In Blood in the Mobile (Denmark/Germany, 2010), for example, Frank Piasechi Poulsen holds Nokia accountable by confronting its allegedly socially responsible corporate branding with information that links blood minerals in the contemporary Democratic Republic of Congo, which he situates historically alongside the physical and psychological violence of colonialism and resource extraction in the Congo Free State under Belgium’s King Leopold II. Animated image from Zurkow’s Paradoxical Sleep (2008), displayed on video screens in the San Jose McEnery Convention Center and suggesting that the Guadalupe River is overflowing into the space.

Available on publicly accessible websites, interactive documentaries are typically free to use, allowing audiences to navigate through amounts of information too large for standard film or television documentaries. Media literacy, however, is needed to understand the ways that interactive documentaries reveal or conceal their power to narrate. Examining ARTE France's Gaza Sderot (2008-9), Zochrot's iNakba (2014), and Dorit Naaman's Jerusalem, We Are Here (2016), this article discusses documentaries that prompt audiences to reflect upon asymmetries in the power to forget history and the responsibility to remember it by mapping Palestinian geographies that have been rendered invisible. Since media ecologies are increasingly militarized, particularly in Palestine/Israel, interactive documentaries like iNakba and Jerusalem, We Are Here can disrupt Israeli state branding as technologically innovative while minimizing risk of surveillance by avoiding the use of location-aware technologies that transform interaction into tracking.

Often dismissed as superficial, vampire films and television series have been a dominant mode by which Hollywood has negotiated the ever-shifting contours of social difference in the United States since the 1920s and 1930s. Remarkably, critical analysis has paid little attention to the interconnections between racism, sexism, and speciesism—and almost no attention to ways that difference affects nonhuman animals. Drawing on work in animal studies and the posthumanities, this article explores the extent to which HBO’s True Blood (2008–present) can contribute to the ongoing process of decolonizing thinking from the everyday habits defined by anthropocentrism. By featuring supernatural species, it questions unwitting complicity with forms of cinematic and televisual realism in reifying political realism. The series is premised on the political organization of vampires who advocate for the right to the right of citizenship, exploring ongoing asymmetries in social and political power through resurrected Confederate soldiers, ghosts of murdered women and children, and terrorism in the form of rebel vampire groups exploding the factories where synthetic blood is manufactured and multiracial hate-groups of male and female humans wearing rubber “Barack Obama” masks and murdering shapeshifters. If the animal turn follows the postcolonial turn, then this article asks whether True Blood might suggest ways for humans to live ethically with other species and to think interspecies relations in ways that consider what interspecies ethics might also mean to humans still defined in terms of race, sex, nativity, and religion.

The recent emergence of horror-satires marks a new moment in cinematic representations of Israel/Palestine. Rather than violence of war, these films foreground structural violence within privileged segments of Israeli society through tropes of infectious diseases and solitary sociopaths. This article examines two widely acclaimed films, Rabies and Big Bad Wolves, to argue that cynicism has replaced reverence over Israel's foundational myths and institutions. A younger generation of filmmakers and audiences is willing to consider Israel's role as both victim and victimizer; their horror-satires replace fears of outside dangers with fears of attacks inside individual and social bodies.

The use of a student-centered curriculum has the potential to increase the academic achievement of students primarily due to the aspects of increased engagement and critical thinking strategies associated with this type of curriculum. This study utilized a multiple regression analysis to analyze data retrieved from the responses to a Likert Scale survey completed by 246 teachers to identify the impact of specific variables such as administrative support, professional development opportunities, and school culture on the teachers’ self-efficacy toward utilizing a student-centered curriculum in the classroom. The study revealed the two independent variables of teachers’ perceptions of professional development opportunities and school culture had a significant impact on the teachers’ self-efficacy toward utilizing a student-centered curriculum in the classroom. Additionally, the study revealed administrative support did not have a significant impact on the dependent variable.

In the 2010s Canada was a world leader in creating interactive documentaries. By the 2020s many of these celebrated i-docs were rendered inaccessible by obsolete technology. This collection examines the short-lived past and the imagined future of the i-doc and emphasizes its impact on the contemporary film and media landscape in Canada and beyond.

Hudson and Zimmermann talk about the arbitrary divisions between the natural and built worlds, often associated with media and environmentalism. They have experienced how environmentalist media in public and semipublic spaces can open debates suppressed in private and state news media or lost within polarizing or segregating social media. Environmentalist media is not simply a new form. It shifts relations between technologies, people, and places. They identify networks beyond the technological and financial infrastructures by considering the circulatory forms of media alongside migratory iterations of people and place in an effort to organize complexities and to pull problems into focus even where power seems invisible.