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Situating Screen Bodies

Brian Bergen-Aurand

Collen. (August 2017).” Mfazwe lives in Benoni, Gauteng, South Africa, and is a photographer at the South African platform Inkanyiso (Zulu for “the one who brings light”). In “Love Has No Gender,” we find a summary of Mfazwe’s response to South Africa’s

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Screening Vulnerability

Brian Bergen-Aurand

Householder. In addition, we will also be considering screen images that challenge the reception of South African self-portraits and Turkish film stills. Screen Bodies has striven to use its cover image to convey a sense of what lies within each issue and

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

Industry Revisited .” South African Journal of Business Management 44 ( 3 ): 47 – 58 . 10.4102/sajbm.v44i3.162 Peersman , Greet . 2014 . Overview: Data Collection and Analysis Methods in Impact Evaluation

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

be identified as Australopithecus africanus was unearthed in a South African quarry. Expecting to find the remains of a baboon, anatomist Raymond Dart examined the fossil and realized that it was considerably different from extant human and nonhuman

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Andrew J. Webber

survivor and whose own family could therefore not have come into being without that survival. 16 For the Australian Shortland, who has lived in South Africa, the film, while being profoundly concerned with German national memory, also asks transnational