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Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg

00676.x . 10.1111/j.1469-8986.1986.tb00676.x Gallese , Vittorio , and Michele Guerra . 2012 . “ Embodying Movies: Embodied Simulation and Film Studies .” Cinema: Journal of Philosophy and the Moving Image 3 : 183 – 210 . https

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Michele Barker

.” Framework: The Journal of Cinema and Media 54 ( 2 ): 259 – 330 . 10.1353/frm.2013.0025 Manning , Erin . 2009 . Relationscapes: Movement, Art, Philosophy . Cambridge, MA : MIT Press . 10.7551/mitpress/9780262134903.001.0001 Mannoni , Laurent

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Eliza Deac

, and philosophy concurred to produce a systematic forgetfulness of the printed matter resulting in the equation of the act of reading with a conversation: “When defining Poetry they [the philosophers] forgot, fundamentally, that the poetry in front of

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

to him in the shape of his prospective audience, who thus expressed metonymically the capacity of the systematic whole of capitalism to degrade its human parts (314). Conversely, Bergson’s philosophy captured only the soothing blackness that masked

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

Views: Film, Cognition, and Emotion , ed. Carl Plantinga and Greg M. Smith , 21 – 47 . London : Johns Hopkins University Press . Carroll , Noël . 1990 . The Philosophy of Horror, Or, Paradoxes of the Heart . New York : Routledge

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Kata Szita, Paul Taberham, and Grant Tavinor

approach in her book was not always to my taste, and the embrace of imprecision and metaphor in particular gave me some pause, perhaps because of the norms in my own discipline of analytic philosophy. And one may certainly quibble with the epistemological

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

Tongue ,” which references Ghostcatching in relation to another live dance included in The Breathing Show (and to the philosophy of Jacques Derrida) (2005: 87–92). Deviations from this trend include Tiffany E. Barber’s previously mentioned

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Héctor J. Pérez

Zone . ” In Philosophy in The Twilight Zone , ed. Noël Carroll and Lester Hunt , 39 – 57 . London : Wiley-Blackwell . 10.1002/9781444310375.ch3 Plantinga , Carl . 2009b . Moving Viewers: American Film and the Spectator's Experience

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

-like theater productions. Because Miró participated mostly in theater and did not have the backing of television, her fame and status was not readily recognized by mass audiences. 7 Radi is a professor of philosophy at the University of Buenos Aires and is

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Karen Pearlman

film scholarship to fields including cognitive psychology, cognitive science, and cognitive philosophy. This groundswell of research all contributes to understanding of what we might compress into the question of “how films affect audiences” or “why we