This article examines mediated performances of emotions by Chinese international students in their transnational journeys returning to China during the COVID-19 pandemic with a focus on the role of mobile media in helping students cope with their cross-border (im)mobility and symbolic immobility. By thematically analyzing 36 self-representational videos produced by returning Chinese students on a burgeoning mobile media platform Douyin, we identify 5 overarching themes of emotional performance: fear, pride, gratitude, shame, and solidarity. We propose that mobile media has the potential to create a hybrid space that witnesses and elicits empathy for the hardship experienced by marginalized mobile groups during the global pandemic. Mobile media, by enabling simultaneous communication, amplifies the sensation of belonging in times of isolation and ambiguity and offers dialogic venues for disparate groups across geographical and socioemotional distances. Our findings suggest the vulnerability of mobile communities in the event of a global pandemic, and the affordances of mobile media in confronting and resolving such precarity. We call attention to the intersections of mobile communities and mobile media amid the global pandemic, particularlyon the experiences and performances of emotions in hybrid spaces.

Addressing the particular context of China, this article has two aims. First, it offers reflections on the possibilities and limitations of using user-generated short videos (vlogs) as research data both methodologically and ethically. We specifically explore the potential of centering vlogs as a new format for examining motherhood behavior across online and offline spaces. Secondly, it adds to the thematic literature on the (re)production and representations of motherhood. We critically examine the rising phenomenon in China of the stay-at-home mother, by exploring how these mothers use short video platforms. Inductively learning from the thematic analysis of short videos of stay-at-home mothers published on Douyin, the patterns in the data indicate three distinct forms of labor are performed through digital motherhood practices: domestic labor, affective labor, and entrepreneurial labor. Drawing on these patterns, we update the original framework of “motherhood 2.0,” which was coined in the 2010s to address mothering practices in industrialized western societies. We extend this framework and conceptualize “motherhood 3.0” by analyzing a type of Chinese community-based intersectional performance of motherhood, gender, and labor that we see emerging in digital cultural production centered on short videos. Mediated labor within online and offline motherhood practices is informed by social, cultural, and technological factors. Digital technologies and mobile media communication provide new means for stay-at-home mothers to navigate between their roles as devoted mothers and their pursuit of self-actualization.

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