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India Halstead

changing global context while producing much of her work in a postwar Germany that, like the artist herself, was only just beginning to heal. In addition, I want to look at how her work was influenced by the psychoanalytic theories of Sigmund Freud, which

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Ambivalent Sexualities in a Transnational Context

Romanian and Bulgarian Migrant Male Sex Workers in Berlin

Victor Trofimov

statements and attitudes may serve as a socially acceptable way to channel the frustration about exploitation on Berlin's sex work market and in the German economy in general. Knowing Mohammed's homophobia, I assumed that Sergio shared the same view

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

the representation of emotions and on our recognition of the emotional states of characters in a scene from the German film series Heimat 3: Chronik einer Zeitenwende (Edgar Reitz, 2004). His choice of this example relates to the fact that it may

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Torben Grodal

make the mix of causes of FEAR even larger, the bad guys are Germans, so the film may activate all the different clichés about cruel German efficiency, even though, again, the FEAR may for the more knowledgeable viewers get a humorous tint by letting

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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

. Alonso , Lisandro . 2001 . La Libertad . Argentina . Benning , James . 2009 . Ruhr . Germany . Bresson , Robert . 1951 . Diary of a Country Priest (Journal d’un curé de campagne). France . Ceylan , Nuri Bilge . 2011 . Once Upon a Time in

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Questions of Authorship

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

Paisley Livingston

intellectual property but the “moral rights” of authors, such as the right to control the conditions under which one’s work is made public. German law, for example, rules that “Urheber ist der Schöpfer des Werkes” (The author is the creator of the work

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Andreas Baranowski and Heiko Hecht

revolution, most psychological works on film were along the lines of clinical psychology—that is, they were mostly psychoanalytical. Two notable exceptions were Münsterberg’s Photoplay (1916) and Rudolf Arnheim’s Film as Art (first published in German in

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Ted Nannicelli

in artistically relevant ways. The Huppertz score, composed in Weimar Germany, invokes Wagner and Strauss, while Moroder’s score evokes a sense of 1980s postmodern pastiche—two very different sonic atmospheres that complement the image track in quite

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Stacie Friend

Smith notes, Hitchcock dispensed with any hint of ambivalence in the later Lifeboat (1944), eschewing any images of the German captain Willi (Walter Slezak) as he is pushed overboard by the other survivors. Smith’s argument is that Hitchcock exploits

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

filmmaking is structured by a damaging performative contradiction. Often associated with the work of German philosopher Jürgen Habermas, especially his critique of poststructuralist theory in The Philosophical Discourse of Modernity (1987), “performative