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Book Reviews

Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

“dominant ideology” dogma, Berliner describes them all well, if only to point out their basic flaws (2–5). In doing so, he emphasizes “(1) the intrinsic properties of Hollywood cinema that induce aesthetic pleasure, (2) the cognitive and affective pleasures

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Screen Stories: Emotion and the Ethics of Engagement

Opening Remarks

Carl Plantinga

of reflexivity or estranging techniques; (4) focuses on content in addition to form, thus countering the “ideological formalist” tendencies of estrangement theory; and (5) insists that discussion of characters as intentional beings and moral agents is

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Style and Storytelling in the Hollywood Aesthetic

Patrick Keating

, “Ideology, Emotion, and Aesthetic Pleasure.” In brief, the former argues that we enjoy narrative films because they are cognitively interesting, and the latter argues that we enjoy narrative films because they are emotionally intense. Both theories have two

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

weak, we could include either the traditionally considered weaker sex or any other sexual minorities. In fact, according to González Pagés (2002) , machismo works very much like an ideology that, since the nineteenth century, has been passed on to male

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Monstrous Genres: Inverting the Romantic Poetics in Shelley Jackson’s Patchwork Girl

Eliza Deac

page and the playfully impermanent (one might say impertinent) electronic text that is always (re)making itself anew” (166) is an instance of what he terms “medial ideology,” namely a reductive way of looking at electronic textuality. Among the

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Screened Bodies

Brian Bergen-Aurand

front of the screens. Perhaps, even, we could turn to W.J.T. Mitchell’s Iconology: Image, Text, Ideology (1986) and Picture Theory (1994) as crucial moves toward more nuanced descriptions of the complex, dynamic relation between images and observers

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Bodies with Objects in Space through Screens

Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics

Jakub Zdebik

performance through the blunt use of gallery metatexts as objects of contemplation. It deliberately misses the gallery—it is installed literally next door, sharing a wall with the gallery but in a space that is ideologically very different from an art gallery

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

(and, as Žižek would argue, the ideology of the society that generated it). In this sense, cinema “teaches us how to desire” ( Fiennes, 2009 ). It follows, then, that cinema must in some way also teach us how to deal with the “gap” in reality that

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Solitude in Pixels

Lu Yang's Digital Figuration of Corporeality

Pao-chen Tang

digital figure in a digital milieu not be like water in water but feel lonely and empty? Between the diffusive formlessness of digitality and a certain level of withdrawal that would constitute the condition of solitude and death, the ideological

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Pain and the Cinesthetic Subject in Black Swan

Steen Ledet Christiansen

by the film in which we feel what Nina goes through, not as an ideological formation of a subject position, but as what Vivian Sobchack calls a cinesthetic subject. For Sobchack, the cinesthetic subject emerges out of our corporeal, emotional