Smartphone filmmaking: theory and practice

viewer which is able to almost fully obscure the screen as a mediator between interactions. These four main chapters cover a substantial breadth of critical theory, methods and case studies, although attention must be drawn to the Afterword, which develops the discussion on touchscreens and COVID-19 from Chapter 2. While there has certainly been scholarship on the threat of public ‘touch’ surfaces recently, White focuses on the changing feelings toward touch and new cultural anxieties about the representation of touching. The real strength of the book is the comprehensive application of a multitude of feminist scholars’ theories in relation to digital technology and culture. It should prove to be a valuable resource for theoretically acquainted scholars and students of internet, digital culture, popular culture and media settings alike. The series of detailed themes and issues related to touchscreens that make up the book are clearly demonstrated through a variety of case studies. Through these demonstrations and the feminist frameworks the book manages to accomplish every aspect it aims to achieve.