English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article examines the raced, gendered, and classed world of UFO-related media with the intention of assessing its potential as a form of resistance. I use as a case study the largest crowdsourced documentary of all time, Sirius (2013), which explores exotic technologies and the exploits of ufologist, Dr. Steven Greer. Sirius’s affiliates conducted immaterial, post-Fordist labor to distribute the environmentally conscious film online, yet despite their progressive, utopian bent, they indicate that any technologies associated with the film will operate under market logic. Moreover, Sirius recycles racially fraught tropes of UFO culture, such as reflecting white ufologists’ desire to experience the Other or subject to understanding a gray race of beings they fear has challenged their racially privileged status.</p

Preternatural Claims, Precarious Workers: The Content and Distribution of the Most Successfully Crowdfunded Documentary