The third issue of the seventh volume of Galactica Media explores the phenomenon of digital presence within the context of networked media reality. The thematic focus of the issue is on how subjectivity is acquired, shaped, and experienced in the digital environment through screen-based, avatarial, and networked forms. The authors examine the screen as a device of archiving and utopian imagination, the avatar as a pattern of self-presentation, and the network as an infrastructure of resonance, surveillance, and political mobilization.

The section “Screen: Utopia, Take, Archive” opens with philosophical interpretations of audiovisual language — from an analysis of utopian inertia in science fiction (Deniz Kurtyılmaz) to the ontology of the long take in the cinema of Andrei Tarkovsky (Anastasia V. Kucherova). The screen as a chronotope of memory is further examined in an article by Armando Rotondi, which investigates documentary practices and reenactment in the films of Andrei Ujică.

The section “Avatar: Role, Image, Pattern” is dedicated to avatars as mediators of identity and behaviour in digital culture. Topics include the identification with gaming avatars and their relation to virtual ownership (Yi An, Xin Lv), the trans-cultural popularity of Turkish television series in Algeria (Mahmut Fevzi Cengiz, Mokhtar Djellouli), and the consolidation of game design patterns (Amir M. Abu Makhadi).

The section “Network: Connection, Resonance, Control” highlights the transformations of digital communication. Articles focus on online communities and the politics of territorial identity (Olga V. Popova, Nikolai V. Grishin), the compensatory functions of messaging communication in the digital age (Vladimir I. Gladyshev, Elvira M. Valeeva, Liudmila I. Belova), echo chambers and digital political mobilization (Dmitry S. Zhukov, Vladimir A. Lovtsov, Sergey K. Lyamin), local “memory wars” and mechanisms of “cancel culture” in the context of accommodative media culture (Alexander V. Ovchinnikov), as well as algorithmic news distribution about artificial intelligence on X (Twitter) and other digital platforms (Hüseyin Yaşa).

The “Critics and Reviews” section features the article “‘Pet Sematary’ as Cultural Value” (Alexander V. Pavlov). The author reviews Shelley McMurdo’s monograph on the first film adaptation of Stephen King’s novel, analysing her interpretation of Mary Lambert’s film as an example of “Grief Horror” and as a work undermining the Reagan-era American dream. In debating the book’s author, Pavlov calls for a reassessment of the cultural significance of all Pet Sematary adaptations as parts of a single universe.

This issue will be of interest to media scholars, philosophers, sociologists, cultural theorists, and all those interested in interfaces of subjectivity, digital memory forms, and new political regimes of presence in the post-screen era.