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Abstract

Greta Thunberg's prominence in the climate justice movement symbolically positions girls at the epicenter of geopolitical resistance, but, while she is given immediate authority across media outlets, other girls’ visions of a more equitable future are often disregarded; this demands our careful attention. We discuss the work of five New York City-based girl activists of color engaged in this movement. We explore the ways in which their intersectional identities and social positions shape their mobilization strategies and draw connections to other popular social justice movements; their activist playbook reveals the transformative potential of intersectional feminist politics in the hands of Generation Z. These girl activists of color generate sophisticated, relational platforms for climate justice informed by the interconnected issues of racial and economic injustice.

Abstract

This article presents a study that investigated the phenomenon of empathic connection with non-human movie characters. Using an original, animated video as a stimulus to explore the relationship between anthropomorphism and empathy, the study found that characters with appendages significantly increased viewers’ empathy and use of anthropomorphic language when compared to a character without appendages. This was true regardless of the type of appendage or whether participants labeled the appendage using human anatomy terms. Additionally, participants’ use of anthropomorphic language was significantly linked to empathy. Thus, anthropomorphism and empathy are connected when viewing animated characters, but an explanation of all factors behind these processes is yet to be discovered.

Abstract

While the Indigenous youth suicide crisis in Canada is widely acknowledged, there is little scholarly attention given to writers who reflect on this from the perspective of being suicide survivors. In this article, I consider the play, And She Split the Sky in Two, by Aleria McKay, a youth survivor from Six Nations. I explore how her work functions as an anti-colonial text that re-envisions the suicide crisis at Six Nations through mourning the gendered, affective, systemic, and spatial legacies of colonial violence. McKay's characters are learning to tell their own stories to completion, depathologizing experiences of despair and entrapment. This work provides a girl's perspective on the long slow process of staying alive to create a different future.

Roger F. Cook. Postcinematic Vision: The Coevolution of Moving-Image Media and the Spectator. Minneapolis: University of Minnesota Press, 2020, 240 pp., $27.00 (paperback) ISBN: 9781517907679.

Federico Alvarez Igarzábal. Time and Space in Video Games: A Cognitive-Formalist Approach. Bielefeld: Transcript-Verlag, 2020, 220 pp., $45.00 (paperback), ISBN: 9783837647136.

Daniel Reynolds. Media in Mind. Oxford: Oxford University Press, 2019, 224 pp., $38.95 (paperback), ISBN: 9780190872526.

Walley, Jonathan. Cinema Expanded. Oxford: Oxford University Press, 2020, 576 pp., $39.95 (paperback), ISBN: 9780190938642.

Abstract

Drawing on interviews with Black women who sang in all-female vocal groups during the late 1950s and early 1960s, I examine the important role played by integrated public and private schools in the formation of the 1960s girl group phenomenon. From talent shows to choir practice, locker rooms to hallways, Black girls took up audible space in institutions of higher learning whenever they harmonized with friends or acquaintances. The collective identities Black girls created in their vocal groups allowed them to challenge racial and gender stereotypes in the civil rights era while also modeling sisterhood and friendship for subsequent generations of girls.

Abstract

In this article, a neurohumanistic, “third culture” approach to “gesture” is delineated. Grounded in an exegesis of Eisenstein's sensorimotor theory and extending to both contemporary and historical thinkers, a “constellation” of the notion of both visual and musical gestures is triangulated and operationalized into empirical research. An overlap between Eisenstein's model of audio/visual gestures and the contemporary frameworks of embodied simulation theory and embodied music cognition is revealed. Through artistic collaborations with a filmmaker and a film composer, custom-made, naturalistic video clips (filmed with a drone) and musical tracks were created using the film The Cranes Are Flying (Kalatozov 1957) as an aesthetic model. Empirical results demonstrate an increased sense of movement and involvement in the perception of both visual and musical “ascent.”

Abstract

In this article, I use data collected as part of my dissertation () to inquire into how one participant, Joanna, who self-identifies as a Black girl, described her lived experiences while attending the Voices alternative-to-detention program. I use the theoretical framework of disability studies in education and critical race theory (DisCrit) with critical spatial theory to analyze collected ethnographic data, such as in-depth field notes, audio-recorded informal conversations, and semi-structured interviews, to show the space Joanna co-created with adult facilitators to center her lived experiences. An attention to the spatial dimension shows how spaces are agentive and has important implications for developing and sustaining educational spaces that cultivate an understanding of the geographies that draw from and center Black girls’ lived experiences.

Abstract

How do we understand the experiences of characters in a movie? Similar to real life, viewers attribute mental states to characters through a process known as Theory of Mind (ToM). Filmmakers commonly use Dramatic Irony, a narrative device where the audience knows something that at least one characters does not. From a social neuroscience perspective, understanding the cognitive mechanisms that underlie dramatic irony can provide a remarkable opportunity to study ToM in a more ecologically relevant context. While descriptive narrative theories of dramatic irony exist, these have never been studied in relation to contemporary social neuroscience. In this opinion piece, we aim to bring together these two traditionally isolated disciplines to propose a cross-disciplinary research roadmap for investigating the social neuroscience of dramatic irony in cinema.