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This paper explores how documentary cinema in war contexts can challenge gender representations. To do so, we adopt a feminist and postcolonial approach to analyze the work of Catalan non-fiction filmmaker Alba Sotorra in Kurdistan, Afghanistan and Catalonia. In her films, Sotorra positions herself close to a series of subjects absorbed by wars and armed conflicts that (re)define their identities while acting beyond gender stereotypes. In particular, the paper analyzes the modes of production and representational strategies of two of Sotorra's latest feature films, Game Over and Commander Arian, documentaries with which the filmmaker aims at overcoming the visual exploitation of alterity. After an introduction to Sotorra, and a brief revision of the theory of postcolonial feminist cinema, our argument unfolds in four parts. Firstly, we reflect on cinematic representations of women and men at war; secondly, we introduce our methodology, based on in-depth interviews with the director to support our film analysis; thirdly, we contrast our hypotheses by means of close-readings of the films; lastly, we reflect on how the filmmaker aligns herself with intersectional feminism by using empathy and solidarity towards her subjects. [ABSTRACT FROM AUTHOR]

The Western gaze instituted by the cinematographic apparatus constructs racialized subjects and supports processes of dispossession. My present transmedial artistic research project engages with the biopolitics of representation in archival film material, from a decolonial perspective. By drawing from academic and non-academic sources on relations between colonialism, capitalism, and technologies of control, this paper studies manifestations of surveillance in non-fiction film, to analyze the sub-genre of medical propaganda in former European colonies. Moreover, it proposes to scrutinize the long-term impact colonial cinema and its structures of representation had and still have on processes of subjectification, haunting present-day gender and race-determined profiling by mainstream film, CCTV, and drones. [ABSTRACT FROM AUTHOR]

This paper addresses the gap between familiar popular narratives describing Artificial Intelligence (AI), such as the trope of the killer robot, and the realistic near-future implications of machine intelligence and automation for technology policy and society. The authors conducted a series of interviews with technologists, science fiction writers, and other experts, as well as a workshop, to identify a set of key themes relevant to the near future of AI. In parallel, they led the analysis of almost 100 recent works of science fiction stories with AI themes to develop a preliminary taxonomy of AI in science fiction. These activities informed the commissioning of six original works of science fiction and non-fiction response essays on the themes of "intelligence" and "justice" that were published as part of the Slate Future Tense Fiction series in 2019 and 2020. Our findings indicate that artificial intelligence remains deeply ambiguous both in the policy and cultural contexts: we struggle to define the boundaries and the agency of machine intelligence, and consequently find it difficult to govern or interact with such systems. However, our findings also suggest more productive avenues of inquiry and framing that could foster both better policy and better narratives around AI. [ABSTRACT FROM AUTHOR]

In the old days of descriptivism, fictional reference and non-fictional reference with proper names were treated on a par. Descriptivism was not an intuitive theory, but it meritoriously provided a unitary semantic account of names, whether referentially full or empty. Then the revolution of the new theory of reference occurred. This new theory is definitely more intuitive than descriptivism, yet it comes with a drawback: the referentially full use and the referentially empty use, notably the fictional use, of names are semantically no longer on the same footing. How the use of names from fiction is referentially empty has even been seen as a symptom of its not being a use at all. In this paper, I ask the following question: can one keep the merits of the new theory of reference and still provide a unitary account of both fictional and non-fictional reference with names? My answer is positive, provided that one conceives proper names as a special kind of indexicals. [ABSTRACT FROM AUTHOR]

In recent years, there has been a growing jurisprudential and philosophical literature on the concept of harm, in particular, what it means to suffer harm. This paper defends the most unpopular account of what it means to suffer harm, the temporal comparative account of harm (TCA). According to TCA, what it means to suffer harm just is for a person to come to be in a state in which they are worse off than they were before. My defence of the TCA proceeds as follows. Firstly, I explain why it is that one might find the TCA appealing to begin with. Then, I respond to three sets of concerns that have been levied against the TCA: (1) concerns about the sufficiency of historical worsenings for harm; (2) concerns about the necessity of historical worsenings for harm; and (3) concerns about the downstream consequences of adopting the TCA in general. If my arguments are successful, we ought to take the TCA much more seriously as a plausible account of what it means to suffer harm. [ABSTRACT FROM AUTHOR]

Although students in college science courses typically learn laboratory techniques and practices, few are taught about the communicative interactions that occur within the larger scientific community. In this paper, I propose that to educate a scientifically literate public — one that comprehends the centrality of argument in the production of scientifically sound information — science instructors must generate an understanding of how consensus is reached within a community of scientists. I use a chapter from a popular science book as an exemplar to illustrate how narrative can be used in an introductory undergraduate science course to inculcate contextual understanding as to why scientists argue. It is in the undergraduate classroom that we groom students to be our future scientists, science teachers, and scientifically literate citizens. The lively and often contentious debates detailed in this chapter can help these students gain a contextual understanding of the role of argumentation in constructing scientific knowledge. [ABSTRACT FROM AUTHOR]

Recent studies of fictionality within narrative theory have emphasized the permeability between global fictions and nonfictions. That is, global nonfictions often deploy elements of local fictionality without compromising their global commitments. This paper seeks to contribute to this ongoing exploration by arguing that nonfictional illness narratives deploy fictionality to enrich their referential content. I examine Brian Fies' graphic memoir Mom's Cancer , emphasizing how the text utilizes fictionality to address the complicated question of how to narrate the illness experience of others. I also move beyond the particulars of Mom's Cancer to consider (a) how the graphic medium lends itself to the inventions of fictionality, (b) why authors of illness narrative often turn to the indirections of fictionality to come to terms with the actual experiences of illness, and c) how a rhetorical understanding of fictionality can help answer recent challenges to the role of narrative studies in the medical humanities. [ABSTRACT FROM AUTHOR]