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In Pursuit of Masculinity

On Aging Bodies, Migration and Youthful Masculinities

Usman Mahar

individual case study is the management of research ethics. And the issue is compounded because there is no formal requirement for ethical reviews in the field of anthropology at German universities. Ethical concerns in the absence of an ethical review board

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Qihao Ji and Arthur A. Raney

Suspension of Disbelief towards a Theory of Tolerance for the Usage of Fictional Films . Cologne, Germany : Halem Verlag . Böcking , Saskia , and Werner Wirth . 2005 . “ Towards Conceptualizing Suspension of Disbelief for Communication Research

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Philip Cowan

-length mirror, almost creating the infinite image familiar in Kane . Lieberman and Hegarty acknowledge German Expressionism’s influence on Toland (2010: 35), and I would consider that collaborating with Freund on Mad Love would have been a seminal moment for

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James K. Beggan

with external ejaculation as a reasonable occupational hazard. For example, one poster commented: “If she hates cum that much, being a German Goo Girl was probably a bad career choice.” Moreover, some men can be hurt by the obvious disgust that some

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Catalin Brylla and Mette Kramer

. . Ward , Paul . 2005 . Documentary: The Margins of Reality . London : Columbia University Press . William , Jennifer Marston . 2017 . Cognitive Approaches to German Historical Film: Seeing Is

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

Moving Image, Berlin University of the Arts , Germany . Wojciehowski , Hannah , and Vittorio Gallese . 2011 . “ How Stories Make Us Feel: Toward an Embodied Narratology .” California Italian Studies Journal 2 ( 1 ). http

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Jens Eder

interesting contemporary German directors. 15 The film also indicates how the expression and evocation of existential feelings, like that of moods, may play “an essential role in the composition, emotional dynamics and dramatic tempo of narrative film

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Andrew J. Webber

on Cate Shortland’s 2012 feature Lore , a German-Australian co-production based on Rachel Seiffert’s narrative of the same name from The Dark Room (2001) and shot in Germany, in German, with a German cast. The film, set at the end of World War II

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The Editors

As we complete our second year of publication, we notice how international our journal has become. We now receive submissions and publish writing from France, Italy, England, Scotland, Israel, Spain, Germany, Denmark, Finland, Hungary, Australia, and the United States. We imagine that this list will continue to grow because of the ubiquitous nature of both film and the disciplines we bring to bear on the subject of the motion picture. This internationalism is made possible by new technologies in communication, and also by the continuing internationalism of the English language. Film has been the most international of art forms since its origins and it seems only fitting that film studies should be a joint collaboration of writers from around the globe.

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Daisuke Miyao

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.