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Torben Grodal

in the film, and to simulate him only implies those features that are portrayed and made salient in the film. Similarly, viewers in real life do, in a given situation, only activate a small fraction of their total identity and full capabilities. Some

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Carl Plantinga

against the film with UNESCO, calling it an attack on the historical identity of Iran. 300 has been called homophobic, racist, antidisability, tribalist, and militaristic. It is the film's incipient fascism, however, that unites these tendencies within a

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“This Is My Story”

The Reclaiming of Girls’ Education Discourses in Malala Yousafzai’s Autobiography

Rosie Walters

otherwise by the author ( Smith 1990 ). It seeks to analyze the ways in which the subject enters into dialogue with discourses about identity and truth ( Gilmore 1994 ). While dominant discourses come to shape society’s understandings, individuals can and do

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Sakai Magara

Activist Girl of Early Twentieth Century Japan

Barbara Hartley

(2010) discusses how “shōjo” refers less to “biological status” than to “cultural identity” (81). Noting the nexus between magazines targeting girl readers and the jogakusei , the girl student who continued her education after completing compulsory

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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

the movie describes the new national situation under Franco's regime; and, finally, in sequence 42, which takes place twenty-five years later when Franco dies and the news of his death reaches the exiles in Russia. The generality of this overall

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Sermin Ildirar and Louise Ewing

the experienced viewers were tested for significance by Fisher’s exact test. Results The percentage values reported below reflect the participants’ responses averaged across the two identities that appeared in Set A and Set B (see Table 2 and Table

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Andrew J. Webber

attention. 2 Here, German film is intended to encompass films—including transnational productions such as Lore —made in and about Germany and directly bound up with its conditions of national identity. My particular concern is with childhood as a

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

one of the leading voices in trans* studies and activism. Radi, alongside a national coalition, drafted part of the Gender Identity Law passed by the Argentine Congress in May 2012. 8 Since independence from Spain in 1816, the Argentine Civil Code

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Lieke Hettinga and Terrance Wooten

landscape of representation has been forcefully shifted to make room for trans and gender-nonconforming actors, characters, and producers. This has not been without risk of overrepresenting trans people as “included” into the national body politic, enabling

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Andrew J. Ball

oppositional symbolic form is appropriated by those in power and redeployed to maintain the existent hierarchy. In particular, Eddy tracks how the American film industry used the marginalized identities and emancipatory idiom of the slasher movie to reproduce