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David Davies

of view that Smith ascribes to me. Writing about the philosophy of dance, McFee holds that what matters for the latter are the kinds of human capacities exercised in executing and appreciating dance performance. The evidence for such capacities, he

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Paisley Livingston

responses; and (2) Castelvetro cases. (1) Unreflective aesthetic responses . Someone listens to a recording of a recent performance of Erik Satie’s (1890) piano composition, Gnossienne No. 2 . This person happens to know that Satie’s score includes no

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Ted Nannicelli

experiential encounter with other sorts of artworks, one instance is as good as another—“a copy of” Moby Dick , “a performance of” Hamlet , “a rendition of” “Summertime,” “a screening of” Rebel Without a Cause (Nicholas Ray, 1955). These works are of the

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Brian Boyd

seems hardly worth passing on, we will assess their performance accordingly: the engagement can be strongly negative, even oppositional. But in successful cases we see that tellers wanted to pass something on, and we engage with that motive, with the way

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

writes on the performance of gay characters, and William Rothman writes on the implications of the camera’s presence to actors but not characters. While some writers are new to writing on film acting issues, others have a track record, and this lends

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The Rich Inferential World of Mad Men

Serialized Television and Character Interiority

Jason Gendler

with Don: Don and Megan pretend to be a married couple deciding whether or not to have dessert. Figure 3 Irritated by Megan’s calculated, cheerful performance, Peggy gives Megan an icy glare . Megan prods Don to try the dessert she’s created using Cool

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Kata Szita, Paul Taberham, and Grant Tavinor

his use of various traditions within film scholarship. Chapters 1, 2, 8, and 9 focus on narrative and genre; Chapters 6 and 7, respectively, explore the aesthetics of performance and sound; Chapter 10 explores computer-generated (CG) animation in light

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Philip Cowan

course, Wyler’s work with the actors resulted in convincing performances. Toland, Hellman, and Wyler also later collaborated on Dead End , and The Little Foxes , two other highly acclaimed films. We can widen this creative circle further as all three of

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

found in much mainstream cinema. In fact, the scene offers a fairly standard treatment of emotional expression, with the actors providing relatively naturalistic performances that are rendered legible by way of stylistic elements such as lighting (high

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When the Future Is Hard to Recall

Episodic Memory and Mnemonic Aids in Denis Villeneuve’s Arrival

Hannah Chapelle Wojciehowski

, and they reversed the temporal order of the frames. What they found is that removing the sound had impaired viewers’ recognition, although the visual information alone drove performance well above chance in that test. Meanwhile, reversing the temporal