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James E. Cutting and Ayse Candan

This article investigates historical trends of mean shot durations in 9,400 English-language and 1,550 non-English-language movies released between 1912 and 2013. For the sound-era movies of both sets there is little evidence indicating anything other than a linear decline plotted on a logarithmic scale, with the English-language set providing stronger results. In a subsample of 24 English-language movies from 1940 to 2010 the decline in shot duration is uniform across 15 shot classes, a result that supports a broad “evolutionary” account of film change. The article also explores the proportions of these shot classes across years and genres, with the results showing that 25 percent of the decline in shot duration is due to a shift away from shot classes with longer-than-average shot durations towards those with shorter-than-average durations, and 8 percent of the decline is due to the increased use of shot scales in which characters appear larger.

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“The Dragon Can't Roar”

Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many

Antony Mukasa Mate

British community. Thus, he enjoys the privileges of the hegemonic class, which include securing a highly lucrative job with attractive perks. Walker later marries his childhood sweetheart Anna, and the couple settles down in Kenya. However, after Kenya

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Daniel Lewis

anxieties over loss of control and manliness. 2 The bedroom space functions as both a respite away from the anxieties and pressures of the social sphere, as well as a place where those middle-class masculine anxieties—stemming from the need for control and

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You Haven't Seen the Last of Men

The Full Monty (Peter Cattaneo, 1997)

Julie Michot

the sexes in the working-class communities of the North of England. In such conditions, it is difficult to be a husband, a father, a head of household, or simply a man—whether heterosexual or gay, as is the case with Lomper (Steve Huison) and Guy (Hugo

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Jacob Breslow, Jonathan A. Allan, Gregory Wolfman, and Clifton Evers

masculinity, racism, classism, geography, sexuality, and violence. Part of what makes this book so important is that it adds the complex voices of trans men to the field of masculinity studies, a field that has been rather myopic in its focus on cisgender

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Ambivalent Sexualities in a Transnational Context

Romanian and Bulgarian Migrant Male Sex Workers in Berlin

Victor Trofimov

Schöneberg. Resembling in their form and design the traditional Berlin pub—the Kneipe —with its working-class character, unpretentious behavior of patrons and staff, liquor selection focusing on local beers, and dense cigarette smoke in the air, these bars

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

receive special status in an academy that often promotes a metrics-led competitive individualism. Furthermore, we are aware that, across the academy, being a woman, being black, and being from working-class heritage is likely to result in lower academic

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Rainer Reisenzein

) what the specific inputs were in the given case or class of cases. Answering the first question is the task of psychology (including cognitive neuroscience, which is simply a special brand of psychology that relies heavily on measurements of the neural

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Torben Grodal

watch (the symbol of her attachment to “the upper-class other”), but the watch strap breaks and Hans falls. ANGER-and PANIC-related arousal is replaced by CARE in bonds between John and Holly and John and Al, who even overcomes his fear of shooting and

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Philip Cowan

him from the steps of her apartment, literally looking down on him. The other example from Dead End shows the high-class Kay (Wendy Barrie) being appalled by the living conditions of the lower-class Dave (Joel McCrea). Again, their positioning and