Letter from the editors

By Philippa Orme, Isaac Pletcher and Wesley Kirkpatrick

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

By Spyridon Chairetis

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

By Danilo Nazareno Azevedo Baraúna

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

By John Francis

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

By Emma Morton

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

By Annie Ward

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

By Lindsey Pelucacci

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

By Elizabeth Hendy

The Spanish lesbian collective LSD: A closer look to their video-essay Retroalimentación (1998)

By Esther Pérez Nieto

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

By Sam Tabet

The Queer Monster: Putting Séance and Bit in Conversation

By Cameron Mumford

Filming History from Below: Microhistorical Documentaries

Reviewed by Stuart A. Neave

A Long, Long Way: Hollywood’s Unfinished Journey from Racism to Reconciliation

Reviewed by Clement Obropta

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

By Paul Flaig

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

By Wesley Kirkpatrick

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

By Laura Lux