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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston

Abstract

These comments concern Bordwell’s explicit and implicit claims about cinematic authorship in his 1985 Narration in the Fiction Film. Distinctions are drawn between causal and attributionist conceptions of authorship, and between actualist and fictionalist views about the spectator’s attitude toward authorship. A key question concerns the autonomy or independence of a viewer’s competent uptake of story and narration, as opposed to its dependence on knowledge of authorship or authorial design. The example of cinematic quotation in Resnais’s Mon oncle d’Amérique is used to illustrate the pertinence of the latter option.

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

literary movements in the ways in which newer generations of authors attempt to “interest” their readers ( 1995: 1–2 ). Reinhard Kuhn, on the other hand, dismisses simple boredom for its dependence on “external circumstances” and instead explores ennui as

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“Like a Dream, an Illusion, a Drop of Dew, a Flash of Lightning”

Buddhist (Un)reality, Thought Experiments, and the “Ecological Dharma Eye” in Lu Yang's Material World Knight Game Film

Livia Monnet

that all things and phenomena arise in dependence on multiple causes and conditions, and as a specific instantiation of this law in the nidanas or the twelve links of dependent origination. The basic formula of the principle of dependent origination

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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

document. And the document becomes an “ontological ‘anchor’” the indexicality of the performing body ( Auslander 2006: 2 ). Philip Auslander discusses how the performance is a reality through the window of photographic documentation, the “mutual dependence

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An Otaku with Chinese Characteristics?

Localizing Japanese ACG Currents in Lu Yang's The Beast

Fred Shan

aesthetic experiences. Ngai argues, following Thomas Crow, that “postwar artists increased art's dependence on the artistically heterogeneous, beginning with the act of choosing an existing aesthetic that could then be ‘refine[d] and package[d]’ for a

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Challenging Binaries in Posthuman Worlds

An Analysis of Lu Yang's The Great Adventure of Material World

Jori Snels

are no ontological separations between humans and machines, and she describes the cyborg as embodying the “posthuman notion of the enfleshed and extended, relational self” which involves a “bond of mutual dependence between bodies and technological

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

-4371(02)01383-3 Karagiannis , Thomas , Michalis Faloutsos , and Rudolf H. Riedl . 2002 . “ Long-Range Dependence: Now You See It Now You Don't .” IEEE Global Telecommunications Conference 3 : 2165 – 2169 . doi: 10.1109/GLOCOM.2002.1189015 . Kostina , Anastasia

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Mario Slugan

dependence as explained by Walton (1984) . 6 In other words, automatic products are a subset of natural counterfactuals, which are in turn a subset of indices. A is counterfactually dependent on B if it is the case that if B had been different A would have

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Melenia Arouh

; what is becoming clearer is not so much the meaning of the word but its dependence on use and purpose of application. In other words, depending on the needs present in the appreciation of a film, the meaning of the words will change to fit the facts

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Karen Pearlman

that might generate new lines of empirical enquiry for the cognition scholars working with film? The attentional theory of cinematic continuity establishes a cognitive foundation of why continuity cutting works. It explains the dependence that