Queering cultural memory through technology

While cinema boasts of a long history that has placed the representation and aesthetics memory at its centre, virtual reality (VR) augmented (AR) are only starting to shape their own aesthetic narrative engagement with memory. Through analysis Chez Moi (Caitlin Fisher Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), Homestay (Paisley Smith, 2018), this essay shows how cinematic AR VR involve viewers’ movement produce transform collective spatial habitation. Feminist digital geographies, film media theory, concept orientation developed by Sara Ahmed in Queer Phenomenology (2006) give sense sound, images participate rewrite cultural symbols. As these artworks present personal memories struggles find home within spaces, they queer hegemonic orientations subject, invite viewers re-align body space ever-changing spaces.