to cast three separate men as Darth Vader in the original trilogy? Darth Vader is a fantastical character with a complex combination of superhuman stature and strength, inhuman mechanical features, and a kind and good interior beneath his frightening
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Jason Dean and Geoffrey Raynor
Andreas Baranowski and Heiko Hecht
( Konkle and Oliva 2011 ). This also extends to social situations and character traits; for instance, low camera angles produce images of strength and high camera angle images of weakness ( Baranowski and Hecht 2017a ; Sevenants and d’Ydewalle 2006 ). With
Philip Cowan
] 1997: 1–2)—I believe this is the fundamental strength of Wyler’s work, and what makes him a great director. The process that the actors and director go through, in terms of interpreting a script, would involve understanding and developing the
The Cine-Fist
Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema
Maria Belodubrovskaya
. Think of the “teeth-to-the-wire” example from Eisenstein’s The Wise Man . From the actor’s perspective, his act is an exertion of effort, strength, and balance. From the clown character’s perspective, this is a gag. Still, the audience has a response
Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten
conversational audiences). Hanich presents these two modes as having equal validity, different strengths, and roots in general human agency. For instance, contra many ideological film theories, to be quiet and attentive in a movie theater is not necessarily
Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis
the “creation of lore” (127). Esch’s argument is intriguing and may capture parts of the Hollywood machinery such as the Academy Awards shows and their ritualistic design. Arguably, his account would gain strength from a case study of drama programs
A Structure of Antipathy
Constructing the Villain in Narrative Film
Jens Kjeldgaard-Christiansen
. His teeth are bared in a feral grin. Chigurh appears to be straining every muscle in his body. The viewer is meant to appreciate, and almost to feel, Chigurh's brute physical strength. A few seconds pass before the officer stops squirming, and Chigurh
Jens Eder
: Phenomenology is strong in first-personal description, analytical philosophy in conceptual analysis, science in empirical explanation. A crucial strength of phenomenology lies in its potential to provide rich first-personal descriptions that convey subtle
Brian Bergen-Aurand
This issue acknowledges the work of Rosalie Fish (Cowlitz), Jordan Marie Daniels (Lakota), and the many others who refuse to ignore the situation that has allowed thousands of Indigenous women and girls to be murdered or go missing across North America without the full intervention of law enforcement and other local authorities. As Rosalie Fish said in an interview regarding her activism on missing and murdered Indigenous women and girls (MMIWG),
"I felt a little heavy at first just wearing the paint. And I think that was . . . like my ancestors letting me know . . . you need to take this seriously: “What you’re doing, you need to do well.” And I think that’s why I felt really heavy when I first put on my paint and when I tried to run with my paint at first. . . . I would say my personal strength comes from my grandmas, my mom, my great grandma, and I really hope that’s true, that I made them proud." (Inland Northwest Native News interview)
Editorial
Screening Vulnerability
Brian Bergen-Aurand
rather than capability or ability—with their links to energy, strength, power, and vitality—began to hold a more central place in my research and critical thought. I began rethinking what bodies do and what they do to us when we experience them