Preface: Bringing Race and Media Technologies into Focus—Lynne Joyrich
Introduction: Race and/as Technology; or, How to Do Things to Race—Wendy Hui Kyong Chun
1. The Face and the Public: Race, Secrecy, and Digital Art Practice—Jennifer González
2. The Whiteness of Privacy: Race, Media, Law—Eden Osucha
3. Interfaces of Identity: Oriental Traitors and Telematic Profiling in 24—Lisa Nakamura
4. Faceblindness, Visual Pleasure, and Racial Recognition: Ethnicity and Technicity in Ted Chiang’s “Liking What You See: A Documentary”—Thomas Foster
5. Race as Technology—Beth Coleman
If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;
If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).
If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).
Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to email@example.com.
For book covers to accompany reviews, please contact the publicity department.
If you're interested in a Duke University Press book for subsidiary rights/translations, please contact firstname.lastname@example.org. Include the book title/author, rights sought, and estimated print run.
Instructions for requesting an electronic text on behalf of a student with disabilities are available here.
This special issue traces how race has been constituted via media technologies and how media texts have been constituted via arrangements of race.