Contents

pp v-vi

List of Figures

pp vii-viii

Acknowledgements

pp ix-x

Notes on Contributors

pp xi-xiv

Introduction: Absences, Identities, Belonging: Looking Anew at Screen Ethics

pp 1-20

Part One - Histories and Absences

pp 21-22

1 - Domestic Work, Gender, Race, Class and the Ethical Paradox of the Big House in Brazilian Cinema

pp 23-41

2 - Cinematic Ethics and a World of Cinemas: A Reason to Believe in this World’s History in Hu Jie’s Wo sui si qu/Though I am Gone

pp 42-59

3 - Memory, Witnessing and Re-enactment: The Look of Silence, S21: The Khmer Rouge Killing Machine and Cinematic Ethics

pp 60-80

Part Two - Bodies and Identities

pp 81-82

4 - Becoming Beyoncé: Disidentification and Racial Imaginaries

pp 83-99

5 - Race, Bodies and Altered Identities in Sleight and Us

pp 100-114

Part Three - Love and Belonging

pp 115-116

6 - A Planetary Whole for the Alienated: John Akomfrah’s Vertigo Sea through Jameson and Deleuze

pp 117-132

7 - Mermaids and Superpigs: Loving Nature under Global Capitalism

pp 133-150

8 - Dreaming of Joyce Vincent’s Life: Carol Morley’s Intersectional Ethics of Care

pp 151-168

Part Four - Looking Anew

pp 169-170

9 - Empathy Machines, Indifference Engines and Digital Extensions of Perception

pp 171-187

10 - Do You See what I See? The Ethics of Seeing Race in Get Out

pp 188-203

11 - Don’t Look Away: Production-assemblages of Rape Culture in Midi Z’s Nina Wu

pp 204-224

Index

pp 225-228