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Jennie Carlsten

Director Steve McQueen's 2008 film Hunger employs strategies of narrative fracture in its account of the 1981 Northern Irish hunger strikes. Through the formal devices of ellipsis and descriptive pause, the film creates space for viewer reflection on, and immersion in, the emotions associated with trauma and loss. Looking at these formal devices as emotion cues, and considering the film as a case study in the cognitive study of film, this article offers an 'emotional reading' of Hunger.

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Narratives of Ambivalence

The Ethics of Vulnerability and Agency in Research with Girls in the Sex Trade

Alexandra Ricard-Guay and Myriam Denov

. Young Femininity. Girlhood, Power and Social Change . Basingstoke : Palgrave Macmillan . Beckett , Helen , and Dirk Schubotz . 2014 . “ Young People’s Self-Reported Experiences of Sexual Exploitation and Sexual Violence: A View from Northern

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Catalin Brylla and Mette Kramer

. John R. Shook and Joseph Margolis , 369 – 377 . Malden, MA : Blackwell Publishing . Keeney , Declan . 2016 . “ The Issue of Emotion in Stories of Conflict: Documentary Filmmaking in a Post Conflict Northern Ireland .” PhD diss., Queen

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“Hitlermania”

Nazism and the Holocaust in Indian History Textbooks

Basabi Khan Banerjee and Georg Stöber

quality of these textbooks is also reflected in our sources. For example, one Tamil Nadu textbook presents a map showing Scotland and Northern Ireland as areas under Axis occupation during the Second World War (Tamil Nadu XII, 2017, 229). In the edition of