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Sharing Images, Spoiling Meanings?

Class, Gender, and Ethics in Visual Research with Girls

Janet Fink and Helen Lomax

Visual Research with Children and Young People . London : Routledge . Tilley , Elizabeth , and Kate Woodthorpe . 2011 . “ Is it the End of Anonymity as We Know it? A Critical Examination of the Ethical Principle of Anonymity in the Context of 21st

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Josh Morrison, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

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Brian Bergen-Aurand

, the Internet continued to disseminate more negative reviews of the rebooted Ghostbusters (2016)—starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones, directed by Paul Feig, written by Katie Dippold and Paul Feig. I think the film

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

Platters, is of central importance to a story concerning the forty-five-year marriage of Kate and Geoff Mercer (played by Charlotte Rampling and Tom Courtenay). From the first dialogue, “Smoke Gets in Your Eyes” becomes associated with the couple; Kate

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

2018, Taylor Mason (played by Asia Kate Dillon) in Billions ( Brian Koppelman, David Levien, and Andrew Ross Sorkin, 2016– ) had just made a strong impact with their pronoun statement in the second season of the series, in which Taylor introduces

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Social Isolation and Disrupted Privacy

Impacts of COVID-19 on Adolescent Girls in Humanitarian Contexts

Sarah Baird, Sarah Alheiwidi, Rebecca Dutton, Khadija Mitu, Erin Oakley, Tassew Woldehanna, and Nicola Jones

important to develop a package of support that is responsive to age, gender, and intersectionality. Acknowledgements We thank Mindset, IPA, and Laterite for overseeing data collection, and Kate Pincock for research assistance. The GAGE program is

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Karen Pearlman

significance both for editors and audiences is supported by a 2000 study of cognition and choreography. Kate Stevens and coauthors write: “the artistry of movement is in trajectories, transitions, and in the temporal and spatial configurations in which moves

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

) has identified women and, more broadly, upper middle-class viewers as the target audience of feel-good films. By contrast, Kate Egan and Kerstin Leder Mackley (2013) suggest that the target audience of feel-good films are predominantly older adults

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Jens Eder

phenomenological change that amounts to … a shift in the overall structure of world-experience” (2012: 26). Such a shift is vividly expressed by Kate Gompert, a character in David Foster Wallace’s novel Infinite Jest : When people call it that [depression] I

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Emily Anderson

, Modern, and Globalized Childhood . New York : Palgrave Macmillan . 10.1057/9780230601666 boyd , danah , and Kate Crawford . 2012 .” Critical Questions for Big Data: Provocations for a Cultural, Technological, and Scholarly Phenomenon