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Journal articles on the topic 'Techno-orientalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Sohn, Stephen Hong. "Techno-Orientalism Goes to the Stars: The Space Asian/American and Interstellar Company Rule in Simon Jimenez's The Vanished Birds." Science Fiction Studies 51, no. 2 (2024): 280–306. http://dx.doi.org/10.1353/sfs.2024.a931156.

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ABSTRACT: This article explores how Simon Jimenez's The Vanished Birds participates in but also moves beyond the discourse of techno-Orientalism through its depiction of characters, companies, and interstellar travel. Readers encounter a seemingly quintessential techno-Orientalist construct when they meet the book's protagonist, Fumiko. But their attention is soon redirected to a corporate entity whose predatory capitalist practices make it the new, menacing techno-Orientalist figure in the plot. The novel intervenes in discourses of techno-Orientalism by emphasizing how exploitative economic

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Kim, Tae Yun. "Sinofuturism, Digital Utopia or Techno Orientalism." Journal of Modern China Studies 25, no. 3 (2023): 81–108. http://dx.doi.org/10.35820/jmcs.25.3.3.

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3

MCKAY, DANIEL. "Camera Men: Techno-orientalism in Two Acts." Journal of American Studies 51, no. 3 (2017): 939–64. http://dx.doi.org/10.1017/s0021875817000548.

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During the years of Japan's “bubble” economy, writers and artists in the United States became increasingly susceptible to “Japan-bashing,” a discourse that objectified Japanese for their trade practices, overseas purchases, and tourist presence. In the following article, I draw upon a range of cultural texts, from Truman Capote's novellaBreakfast at Tiffany'sto Michael Crichton's novelRising Sun, in order to investigate how the trope of the camera-toting Japanese expatriate encapsulated the fears of the era. I then move to explore the ways in which Japanese Americans negotiated these tropes in

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Taillandier, Denis. "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk." Arts 7, no. 4 (2018): 60. http://dx.doi.org/10.3390/arts7040060.

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North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on th

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Goto-Jones, Chris. "Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō." Asiascape: Digital Asia 2, no. 1-2 (2015): 20–56. http://dx.doi.org/10.1163/22142312-12340019.

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Seeking to address the general question, ‘Where is Digital Asia?’, this paper explores the various ways in which the digital and virtual realm interacts with the problematic and contested category of Asia. Beginning with a discussion of the relationship between Asia and Digital Asia, as both cartographic and ideological sites, it moves on to connect Digital Asia with the discourse of techno-Orientalism. Using the example of the videogame as an instance of a digital location that can be visited and explored, this article suggests that the gamic quality of interactivity adds a new, experiential

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McLeod, Ken. "Afro-Samurai: techno-Orientalism and contemporary hip hop." Popular Music 32, no. 2 (2013): 259–75. http://dx.doi.org/10.1017/s0261143013000056.

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AbstractThis article examines the practice and recent rise in the use of various aspects of Japanese popular culture in hip hop, particularly as manifest in the work of RZA, Kanye West and Nicki Minaj. Often these references highlight the high-tech, futuristic aesthetic of much Japanese popular culture and thus resonate with concepts and practices surrounding Afro-futurism. Drawing on various theories of hybridity, this article analyses how Japanese popular culture has informed constructions of African American identity. In contrast to the often sensational media coverage of racial tensions be

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7

Hayes, Christopher J. "Utopia or Uprising? Conflicting Discourses of Japanese Robotics in the British Press." Mutual Images Journal, no. 6 (June 20, 2019): 135–67. http://dx.doi.org/10.32926/2018.6.hay.utopi.

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Technology is a particularly interesting example of where media portrayal of Japan is inconsistent. For many years, Japan has been known as a technologically advanced nation. This image persists, especially in the last couple of years with the introduction of service and retail robots such as Softbank’s Pepper. While sometimes news publications present this as a positive image of the future, an idea of what we in the West have to look forwards to, at other times, the image of technology in Japan is decidedly negative. Sometimes it has too much technology, or it has technologies that ‘we in the

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Miyake, Esperanza. "Politicizing motorcycles: Racialized capital of technology, techno-Orientalism and Japanese temporality." East Asian Journal of Popular Culture 2, no. 2 (2016): 209–24. http://dx.doi.org/10.1386/eapc.2.2.209_1.

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9

Ueno, Toshiya. "Techno‐Orientalism and media‐tribalism: On Japanese animation and rave culture." Third Text 13, no. 47 (1999): 95–106. http://dx.doi.org/10.1080/09528829908576801.

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10

Thouny, Christophe. "Lu Yang." Screen Bodies 7, no. 1 (2022): 183–87. http://dx.doi.org/10.3167/screen.2022.070112.

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Where is Lu Yang? Not here nor there; they might well be this new supernatural life form Maupassant could feel invading his everyday when the world became planetary, an invisible entity coming from abroad and unstoppable. Indeed, Lu Yang (LY) is unstoppable, unlocalizable, out of time and space. Planetary being? Asian superhero? Their aesthetics are avowedly Asianesque, with clear references to Japanese otaku culture, Buddhism, Chinese characters. This is 1990s techno-orientalism on speed opening onto what Livia Monnet calls a planetary unconscious.

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11

Ding, Dingzhong. "Behind the Poetics of the Female Asian Cyborg: A Techno-Orientalist Other." Communications in Humanities Research 14, no. 1 (2023): 94–99. http://dx.doi.org/10.54254/2753-7064/14/20230414.

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In 1985, Donna Haraway conceived a political myth of the cyborg, a cybernetic organism, hybrid of machine and organism, that refuses to be attributed to existing definitions used to explain the human body. Over the years, Haraways cyborg has continued to find itself in the center of academic and creative discourse. Given the prominence of Haraways model, in this paper, I will examine the cyborg poetics of two contemporary female Asian poets, Franny Choi and Sally Wen Mao, under the framework of Haraways cyborg. Both liken their self to cyborgs. Both take the perspective of cyborgs. Both are eq

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Huang, Yunying. "On Sinofuturism." Screen Bodies 5, no. 2 (2020): 46–62. http://dx.doi.org/10.3167/screen.2020.050205.

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Dominant design narratives about “the future” contain many contemporary manifestations of “orientalism” and Anti-Chineseness. In US discourse, Chinese people are often characterized as a single communist mass and the primary market for which this future is designed. By investigating the construction of modern Chinese pop culture in Chinese internet and artificial intelligence, and discussing different cultural expressions across urban, rural, and queer Chinese settings, I challenge external Eurocentric and orientalist perceptions of techno-culture in China, positing instead a view of Sinofutur

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13

Siu, Lok, and Claire Chun. "Yellow Peril and Techno-orientalism in the Time of Covid-19: Racialized Contagion, Scientific Espionage, and Techno-Economic Warfare." Journal of Asian American Studies 23, no. 3 (2020): 421–40. http://dx.doi.org/10.1353/jaas.2020.0033.

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14

de, Morais Silva Amanda, Santana Serafim Amanda Katarina de, Sousa Machado Camila de, de Almeida Rayane Sátiro, and de Oliveira Suéllen Sulamita Gentil. "Neon Genesis Evangelion e a ressignificação do tecno-orientalismo pela sociedade japonesa." Revista Multidisciplinar de Estudos Nerds/Geek 3, no. 5 (2021): 92–108. https://doi.org/10.5281/zenodo.11995566.

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Este trabalho objetiva analisar o anime Neon Genesis Evangelion, à luz do conceito de Tecno-orientalismo, concebido pelos autores David Morley e Kevin Robins. O anime, lançado na década de 90, marcou a indústria otaku no Japão e ao redor do mundo, tornando-se um clássico e proporcionando debates intensos acerca de qual seria sua “mensagem real” e a construção de significados transpassados pela obra. Tendo em vista que o discurso tecno-orientalista coloca o Japão na posição de país tecnol&oacute

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Lee, Jaeeun. "Techno-Orientalism and Contemporary Art in Posthuman Era: Pierre Huyghe’s Untitled, Human Mask." Journal of History of Modern Art 48 (December 31, 2020): 243–71. http://dx.doi.org/10.17057/kahoma.2020..48.009.

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16

Zaidi, Saba, Mehwish Sahibzada, Saman Salah, Anisa Tul Mehdi, and Durdana Rafique. "A Linguistic Discursive Analysis of Techno-Colonialism Through the Post-cyberpunk Literature." International Journal of English Linguistics 8, no. 6 (2018): 131. http://dx.doi.org/10.5539/ijel.v8n6p131.

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Technological advancement has made the world a complex arena of day to day transforming phenomenon. In such a complex and technologically progressive world nothing is static instead things have become technology oriented. The socio-historical phenomena like orientalism and imperialism are also not free from technological progress. Similarly, literature of the contemporary times has become Postmodernist for it now aims to represent the current human experiences. The quality of the Postmodernist literature is to represent and dismantle the socio-cultural constructions that use to perpetuate cont

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17

OBA, Kenji. "A Study of Iwai Shunji’s Swallowtail Butterfly as a Work of Techno-Orientalist Minor Literature and its Representation of the East Asian Diaspora." Border Crossings: The Journal of Japanese-Language Literature Studies 14, no. 1 (2022): 177–90. http://dx.doi.org/10.22628/bcjjl.2022.14.1.177.

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This paper is an investigation of “Techno-Orientalism” in postmodern Japanese and global cultural genres and subcultures since the 1980s. It concentrates on the representation of the diaspora from East Asia in the film Swallowtail Butterfly (1996), directed by Iwai Shunji (1963-). This film criticized the expansion of neoliberalism after the collapse of the “Bubble Economy” in the years 1986 to 1991 from the perspective of the diaspora, suggesting a path for the reconsideration of the connection between postmodernism and global capitalism in 1980s Japan. A postmodern genre formed in which urba

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18

McElroy, Erin. "Digital nomads in siliconising Cluj: Material and allegorical double dispossession." Urban Studies 57, no. 15 (2019): 3078–94. http://dx.doi.org/10.1177/0042098019847448.

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This paper studies the arrival of digital nomads in Cluj, Romania. I focus upon double dispossession, in which ‘digital nomads’ allegorise technocapitalist fantasies by appropriating Roma identity on one hand, and in which Roma are evicted to make way for the arrival of Western digital nomads and tech firms on the other. While Roma are materially dispossessed as Cluj siliconises, they are doubly dispossessed by the conjuration of the deracinated digital nomad/Gypsy. As I suggest, this figure discursively drags with it onto-epistemological residues of 19th-century Orientalism – a literary genre

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19

Abdelmoez, Joel W. "Good Tidings for Saudi Women? Techno‐Orientalism, Gender, and Saudi Politics in Global Media Discourse." CyberOrient 16, no. 1 (2022): 4–34. http://dx.doi.org/10.1002/cyo2.23.

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20

Niu, G. A. "Techno-Orientalism, Nanotechnology, Posthumans, and Post-Posthumans in Neal Stephenson's and Linda Nagata's Science Fiction." MELUS: Multi-Ethnic Literature of the United States 33, no. 4 (2008): 73–96. http://dx.doi.org/10.1093/melus/33.4.73.

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21

Luo, Lily W. "Intimacies of the Future: Techno-Orientalism,All-under-Heaven (Tian-Xia天下), and Afrofuturism". Verge: Studies in Global Asias 9, № 1 (2023): 109–33. http://dx.doi.org/10.1353/vrg.2023.0005.

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22

McLeod, Ken. "Vaporwave." Journal of Popular Music Studies 30, no. 4 (2018): 123–42. http://dx.doi.org/10.1525/jpms.2018.300409.

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This article investigates various aspects of the popular online music genre known as vaporwave in order to understand how it functions as a form of socio-economic critique while problematizing aspects of identity. It begins by discussing some of the prominent features and objectives of vaporwave. Although there is much ambiguity in the overall attitude and message of vaporwave, its main unifying ideology is the re-configuration of pop music from the 1970s and ‘80s in order to critique and parody consumerism and corporate culture. With an analysis of one of the most well-known examples of vapor

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23

Unger, Michael A. "Cinematic Representations of Korean Cities in Hollywood Film: Techno-Orientalism From Neo-Seoul to the Marvel Universe." Korean Society of Culture and Convergence 43, no. 10 (2021): 789–808. http://dx.doi.org/10.33645/cnc.2021.10.43.10.789.

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24

Kang, Jaeho. "The Media Spectacle of a Techno-City: COVID-19 and the South Korean Experience of the State of Emergency." Journal of Asian Studies 79, no. 3 (2020): 589–98. http://dx.doi.org/10.1017/s0021911820002302.

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This essay provides a critical observation of the South Korean government's distinctive management of COVID-19 with particular reference to the state of emergency. It reveals that the success of South Korea's handling of the pandemic is largely attributed by a majority of Western media to the efficient deployment of both information and communication technologies and Confucian collectivism, two components that seem contradictory yet not incompatible under the rubric of techno-Orientalism. Analyzing the intensification of surveillance and the rapid datafication of society, this essay argues tha

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Rivera, Takeo. "Do Asians Dream of Electric Shrieks?: Techno-Orientalism and Erotohistoriographic Masochism in Eidos Montreal's Deus Ex: Human Revolution." Amerasia Journal 40, no. 2 (2014): 67–87. http://dx.doi.org/10.17953/amer.40.2.j012284wu6230604.

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Shin, Haerin. "Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media. David S. Roh, Betsy Huang, and Greta A. Niu." MELUS: Multi-Ethnic Literature of the United States 41, no. 3 (2016): 217–19. http://dx.doi.org/10.1093/melus/mlw018.

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Cha, Julian. "Do We Look Like We Need Your Help? Techno‐Orientalism in tht X‐Men Film Franchise." Popular Culture Review 25, no. 1 (2014): 27–38. http://dx.doi.org/10.1002/j.2831-865x.2014.tb00627.x.

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Ho, Hannah Ming Yit. "Contested Homes in Speculative Futurities in Anglophone Bruneian Fiction." Science Fiction Studies 52, no. 1 (2025): 95–114. https://doi.org/10.1525/sfs.2025.52.1.95.

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Speculative futurities that are delineated in Bruneian author Aammton Alias’s Anglophone novel Gergasi Wrath (2023) offer a critique of human exploitation of nature, land, and indigenous communities who claim simultaneous ownership of demarcated territories. In his latest novel, Alias takes issue with notions of modern development and progress under the guise of capitalist greed, materialism, and power that infiltrates and complicates the concept of home as a locale of belonging, security, and identity. His speculative vision excavates cultures and histories of exploitation within landscapes t

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Cheng, John. "Techno-orientalism: imagining Asia in speculative Fiction, History, and Media ed. by David s. Roh, Betsy Huang, and Greta A. Niu." Journal of Asian American Studies 18, no. 3 (2015): 382–84. http://dx.doi.org/10.1353/jaas.2015.0026.

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Kim, Suk-Young. "Postornamentality." Prism 19, no. 1 (2022): 203–14. http://dx.doi.org/10.1215/25783491-9645992.

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Abstract Lotus blossoms, dragon ladies, K-pop beauty queens, and crazy rich Asians . . . these are the jaded stereotypes distilled by the prevalent popular imaginary surrounding Asian/Asian American women. Despite their varying temperaments, they tend to focus on the particular decorative sensibilities and ornateness of Asian/Asian American female bodies. Among multiple scholarly efforts to wrestle with these enduring perceptions of yellow women, Ann Anlin Cheng's concept of ornamentalism is arguably the most significant theoretical perspective to have emerged in recent years. And yet, in the

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Suver, Stacey. "Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media. Eds. David S.Roh, BetsyHuang, and Greta A.Niu. New Brunswick, NJ: Rutgers University Press, 2015. 272 pp. $34.95 paperback." Journal of Popular Culture 49, no. 5 (2016): 1188–90. http://dx.doi.org/10.1111/jpcu.12459.

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Rivera, Takeo. "Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media. Edited by David S. Roh , Betsy Huang , and Greta A. Niu . New Brunswick, N.J.: Rutgers University Press, 2015. x, 260 pp. ISBN: 9780813570631 (paper)." Journal of Asian Studies 77, no. 1 (2018): 229–31. http://dx.doi.org/10.1017/s0021911817001693.

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Фадеева, Татьяна Евгеньевна. "VIEWER IN THE VIRTUAL REALITY SPACE: PLANETARY OPTICS’ FORMATION." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(33) (May 5, 2022): 73–96. http://dx.doi.org/10.23951/2312-7899-2022-3-73-96.

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Рассматривается особый способ телесного присутствия зрителя в различных произведениях виртуальной реальности (VR). В некоторых из них зритель присутствует лишь в роли наблюдателя / свидетеля, или «призрака», не способного взаимодействовать с миром виртуальной инсталляции и влиять на происходящие в нем события. В других же элемент интерактивности проявляется ярче, роль зрителя более не сводится исключительно к наблюдению, он становится активным участником инсталляции. Произведения искусства, созданные с применением технологий виртуальной реальности, – это искусственные «миры», предлагающие зрит

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Tian, Ian Liujia. "Queer techno-orientalism as method: Mr. Robot, Uterus Man , and other Chinese techno futures." Media, Culture & Society, July 8, 2025. https://doi.org/10.1177/01634437251350046.

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This article inter-references Asian North American theorizing of techno-orientalism and queer Asia as method. Specifically, it develops queer techno-orientalism as method to think beyond Chinese queer and trans bodies’ hyper visibility as “technologized threats” in techno-orientalist representations and their invisibility in China’s cisheteronormative, nationalist hi-tech future. It argues that Chinese queer and trans bodies can reclaim a reparative techno future beyond these two dominant frames. To do this, I practice queer techno-orientalism as method by juxtaposing the cyberpunk TV series M

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Dr. Saba Zaidi, Mehwish Sahibzada, Asiya Mustafa Zehri. "TECHNO-ORIENTALISM: AN INTERTEXTUAL ANALYSIS OF THE WINDUP GIRL." Pakistan Journal of International Affairs 5, no. 3 (2022). http://dx.doi.org/10.52337/pjia.v5i3.587.

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The concept of ‘Orientalism’ as suggested by Said (1978) is not only the stereotyped representation of east but it has deeper significance and approach. By the stereotyping of east the west has always maintained its position at the center of binarism. This idea may be of self-conceit or an urge to develop the third world countries (east), the question of ‘Orientalism’ is persistent throughout the sagas of history. Present study is an endeavor to analyze Orientalism by Said (1978) along with Techno-orientalism by Morley and Robins (1995) in order to understand the contemporary concept of orient

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March, Lucy. "Satisfaction Guaranteed: Techno-Orientalism in Vaporwave." Lateral 11, no. 1 (2022). http://dx.doi.org/10.25158/l11.1.3.

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A characteristic frequently glossed over in scholarly examinations of the online electronic music genre vaporwave is its use of East Asian cultural imagery in its paratexts. One exception is a piece by musicologist Ken McLeod, who connects vaporwave’s use of visual references to Japanese culture to techno-Orientalism, a term that describes how paranoia around Japanese economic expansion in the late twentieth century manifested in American and European cultural products. This article extends McLeod's argument to show how the uses and reproductions of East Asian cultural elements in vaporwave se

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Yamashita, Karen Tei, and Lucy Mae San Pablo Burns. "Anime Wong: Mobilizing (techno)Orientalism – Artistic Keynote and Conversation." Journal of Contemporary Drama in English 5, no. 1 (2017). http://dx.doi.org/10.1515/jcde-2017-0013.

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Mas'ud, Abdurrahman, Nur Said, and Sus Eko Zuhri Ernada. "British Scholar’s Perceptions on Capitalism and Religious Ethics In The Age of Techno-Feudalism." Indonesian Journal of Islamic Literature and Muslim Society 9, no. 1 (2024). http://dx.doi.org/10.22515/islimus.v9i1.8679.

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In a feudal system, land is the main source of wealth and power. Meanwhile, Techno-Feudalism holds the concentration of power and data wealth in the digital realm which has a significant impact on economic, social and political structures. This research discusses the dialectics of religious ethics, capitalism and Indonesian citizenship in the face of the rise of techno-feudalism from the perspective of British scholars' orientalism. This study uses a multi-faceted approach, combining interviews, content analysis and scientific publication studies to reveal the complex layers of how British int

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Peralta, Lee Melvin Madayag. "Resisting Techno-Orientalism and Mimicry Stereotypes in and Through Data Science Education." TechTrends, March 25, 2023. http://dx.doi.org/10.1007/s11528-023-00842-0.

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Dhaliwal, Ranjodh Singh. "The Legality of Logistics: On Techno-Orientalism and Geopolitics in Semiconductor Production." IEEE Annals of the History of Computing, 2025, 1–23. https://doi.org/10.1109/mahc.2025.3559418.

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41

Lester, Quinn. "Bio-orientalism and the Yellow Peril of Yellow Life." Catalyst: Feminism, Theory, Technoscience 7, no. 1 (2021). http://dx.doi.org/10.28968/cftt.v7i1.34382.

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While recent literature on Asiatic racial form has drawn attention to the ways that techno-orientalism represents Asian life as mechanically non-human, the COVID-19 pandemic and other developments under the Anthropocene draw renewed attention to the construction of Asian peoples as a source of biological and contagious threat to the West. In this article I argue that a unique discourse of bio-orientalism contributes to the depiction of Asians as a "Yellow Life" that is an existential threat to Western forms of life. Western life posits that this Yellow Life must be resisted and ultimately elim

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Fan, Christopher T. "Techno-Orientalism with Chinese Characteristics: Maureen F. McHugh’s China Mountain Zhang." Journal of Transnational American Studies 6, no. 1 (2015). http://dx.doi.org/10.5070/t861019585.

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Citko-DuPlantis, Małgorzata Karolina. "Playing with the Classics, Playing the Classics—The Cyborg Ninja Genji in the Video Game Overwatch." Japanese Language and Literature 58, no. 2 (2024). http://dx.doi.org/10.5195/jll.2024.330.

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Tackling fundamental questions crucial for content creation in video game development, the article analyzes the cyborg ninja Genji character in an American video game Overwatch. It argues that Overwatch, while falling into global trends of Neomedievalism and techno-Orientalism, made Genji more famous and cooler (in the sense of the “Cool Japan” strategy) as a character and hero than ever before. It also emphasizes that since it is through Overwatch that most students currently access the term “Genji” online, the video game claimed the right to control the future of certain elements of premoder

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"Critique of Anti-Asian Racism Discourse in Hollywood Sci-Fi Films : Focusing on the Film <The Creator>(2023)." Sookmyung Research Institute of Humanities 17 (June 30, 2024): 145–71. http://dx.doi.org/10.37123/th.2024.17.145.

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This article aims to highlight that the recent Hollywood SF film <The Creator>(2023), while seemingly a direct critique of American imperialist ideology towards Asia, still remains entrenched in typical Orientalist perspectives in its portrayal of the East and Asians. By adhering to the conventions of techno-Orientalism long observed in Hollywood SF movies, the film inadvertently perpetuates Western-centric ideologies. This study also examines how the immense cultural significance and power of the Hollywood signifier reinforce ideologies and solidify conventional perceptions. Through a s

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McInerney, Kerry. "Yellow Techno-Peril: The ‘Clash of Civilizations’ and anti-Chinese racial rhetoric in the US–China AI arms race." Big Data & Society 11, no. 2 (2024). http://dx.doi.org/10.1177/20539517241227873.

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The rhetoric of an ‘AI arms race’ between the United States and China has become increasingly prominent over the past 5 years, despite warnings that it is unnecessarily polarising and undermines safe and ethical artificial intelligence (AI) development. However, existing critiques of the AI arms race narrative engage only sparingly with the racialised dimensions of this discourse. In this article, I draw on the rich theoretical insights of Asian American and Asian diaspora studies to show how the AI arms race narrative is deeply racialised in two key ways. First, I show how the rhetoric of an

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Ge, Liang, J. Daniel Luther, and Eva Cheuk-Yin Li. "Editorial introduction: Queer Asia as Method." Media, Culture & Society, July 8, 2025. https://doi.org/10.1177/01634437251351143.

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This introduction outlines the theoretical and methodological interventions proposed by the Crosscurrent special section, Queer Asia as Method , which interrogates the dynamic intersections of queer studies, Asian studies and critical media scholarship to challenge Eurocentric epistemologies and colonial frameworks. Emerging from scholarly dialogues initiated in 2021, this framework challenges the Euro-American dominance often found within queer studies by centring the intricate, fluid intersections of ‘queernesses’ and ‘Asias’. We argue for examining how media technologies and transnational c

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Hjorth, Larissa, and Olivia Khoo. "Collect Calls." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2586.

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   Synonymous with globalism, the mobile phone has become an integral part of contemporary everyday life. As a global medium, the mobile phone is a compelling phenomenon that demonstrates the importance of the local in shaping and adapting the technology. The adaptation and usage of the mobile phone can be read on two levels simultaneously – the micro, individual level and the macro, socio-cultural level. Symbolic of the pervasiveness and ubiquity of global ICTs (Information and Communication Technologies) in the everyday, the mobile phone demonstrates that the experiences of

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