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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

overcome developmental challenges of transforming fiction into reality ( 2011, 197 ). By contrast, Despina Kakoudaki (2014) views science-fictional developments in cybernetics and robotics as stereotypical, arguing they have very little to do with

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Kata Szita, Paul Taberham, and Grant Tavinor

affect theory (1962 , 1963 ). Tomkins's work is an early source of the idea of emotions as partially comprising stereotypical physiological responses that can be categorized according to their valance—positive, negative, or neutral—the kinds of

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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

about their general, stereotypical form (see, e.g., Schank and Abelson 1977 ). The general script of character visual perception, then, can be defined as a situation in which “a character S sees something O” (on the role of scripts or schemas in

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

: Stage Pictorialism and Early Film . New York : Oxford University Press . Bulgakowa , Oksana . 2005 . “ The ‘Russian Vogue’ in Europe and Hollywood: The Transformation of Russian Stereotypes through the 1920s .” The Russian Review 64 ( 2 ): 211

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

represent certain stereotypes or archetypes, good and evil are clearly delineated, and characters are rarely shown performing repetitive or unmotivated tasks that would not contribute to their characterization or propel the unfolding story further. Classical

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Wyatt Moss-Wellington

the shortcuts we take to comprehend personality details and achieve moral certitude; it is a cinematic essay on gossip and accountability. As Katrina G. Boyd puts it, “the film references stereotypes but bases much of its humor on the interplay between

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Akkadia Ford

devastating periods in twentieth-century gay and transsexual history, and Dallas Buyers Club serves as a powerful reminder of the historical and social backgrounds against which mainstream films continue the hegemonic stereotyping of narratives and

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

-Guzman (2016) terms this the “Hollywood Paradox”: seemingly, Hollywood emerges as a subject of diversification in mainstream media and yet the mechanisms of legitimate diversification—beyond tokenizing or stereotyping—are actively blockaded by Hollywood

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Close to You

Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder


There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?

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On Sinofuturism

Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.

Yunying Huang

Western techno-orientalist stereotypes of China that characterize China as “exotic, bizarre, tacky, and cheap.” Domestic Chinese media, by contrast, often figure China grandly as heroic, stable, and historic. In his video essay, Lek exposes key stereotypes