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Film as the Engine for Learning

A Model to Assess Film's Interest Raising Potential

Winnifred Wijnker, Ed S. Tan, Arthur Bakker, Tamara A. J. M. van Gog, and Paul H. M. Drijvers

( Savelsbergh et al. 2016 ). Uneasiness with such approaches implemented in new digital learning environments causes teachers to return to habits of knowledge transfer that were default long ago ( Niederhauser and Lindstrom 2018 ). In the process, the relevant

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

Eliza Deac

: traditionally, works of fiction are circulated through books, while this particular form of writing not only exists in a specific digital and screened environment, but also exploits its characteristics for aesthetic purposes. The claim to a place in the field of

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A Cinema of Movement

Michele Barker

its moving subjects is now taking up this immanent movement that Marey worked with over a century ago. Thought of loosely, and returning to the perspective offered by my lost camera, what happens when the camera and its environment enter into a primary

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A Body of Texts

Memento and Mētis

Jeremy Tirrell

interactions with his environment, including his rich archive of tangible mementos. Following this, the article aligns Leonard with two classical mētic exemplars: Odysseus and the sophist Gorgias. For these figures, as for Leonard, selfhood materially emerges

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

take place in environments that are racially coded through the exclusion or stereotypical treatment of nonwhite characters ( Feagin 2010 ). The majority of these movies (82 percent) are filmed in suburban neighborhoods or exclusive spaces such as

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Book Reviews

Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

resources are mobilized within both film viewing and everyday real-world experience. Chapter 3 examines scenes that feature radio broadcasts as part of the rich audiovisual textures featured within their films’ depicted environments. Unlike the previous

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

no longer defined primarily in relation to the experiencing human subject but as “desubjectified,” free-floating intensities attributable to the “assemblages” formed by human and nonhuman bodies, artifacts, things, objects, and natural environments

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Book Reviews

Wyatt Moss-Wellington, Dooley Murphy, Robert Sinnerbrink, and Kirsten Moana Thompson

way that virtual reality media allow their users the impression of experiencing [synthetic spatial] environments” (5, italics mine). Neither the computational minutiae of VR systems nor specific artworks produced for or within them are the engine that

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

of perception as a “capacity organisms evolve for attuning to relevant features of their environment” (74). Using Merleau-Ponty and Gibson as its main theoretical influences, Cinema’s Bodily Illusions skillfully weaves together a diverse range of

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Cyclic Existence, Iteration, and Digital Transcendence

Lu Yang's Live Motion Capture Performances

Ashley Lee Wong

influential in moulding and shaping lifeworld” (2019: 3). Technologies including virtual worlds and game environments have the potential to present an existential thrownness in Heidegger's terms and groundlessness in Kierkegaard's terms, which is