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Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

, and troughs. It is now becoming clear that these geographic metaphors offer an often hastily sketched topography of fear, euphoria, threat, and elation. This topography, often graphically represented through rates of infections, hospitalizations, and

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Andrew J. Ball and Aleksandr Rybin

fear of persecution or judgment. Taken (2020)

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Situating Screen Bodies

Brian Bergen-Aurand

extends Inkanyiso’s work in its call for more inclusive views on race, gender, and sexuality and its rallying cry against gender-based violence in South Africa and around the world. Figure 2 Collen Mfazwe: We Live in Fear . I first encountered

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Bodies, Sexualities, and Masculinities in the Time of Coronavirus

Jonathan A. Allan, Chris Haywood, and Frank G. Karioris

flattened or planked. These are anxious times for many, and for others this is an exaggeration. The Brazilian president, Jair Bolsonaro, said the media was just “fear-mongering,” and he explained that “with my history as an athlete, if I were infected with

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

Thrillers: The Aesthetic Paradox of Pleasurable Fear . London : Routledge . Hanich , Julian , and Daniel Fairfax , eds. 2019 . The Structures of Film Experience: Historical Assessments and Phenomenological Expansions . Amsterdam : University of

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Carl Plantinga

not highly regarded, and the only identifiable Athenian among them continually expresses fear and doubt, where the authentic Spartans express only fierce resolve. The “poets,” “potters,” and “blacksmiths” of the Athenian army, it is implied, are not