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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

fluoroscope, the writer for Leslie's describes the fluoroscope image produced from a goose's digestion of food mixed with bismuth salt, which absorbs x-rays, as viewing a “shadow cast upon the fluorescent screen.” He continues by describing how the path of

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

physical state of affairs are explored. The creation crawls across the floor like a gigantic insect. With the connection of the victims’ various gastrointestinal tracts, food eaten by the first person in the chain passes as feces into the mouth of the

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

Syrian fast-food restaurant in Istanbul—Yassin remonstrates with a compatriot over what he thinks is the inflated price of his falafel, then is berated by the owner, who takes away Yassin’s plate and castigates him as ungrateful and undeserving

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On Sinofuturism

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

Yunying Huang

Orwell's 1984” ( Robson 2017 ). Outside characterizations pay excessive attention to the sovereignty of China, and assume young Chinese are “too preoccupied with the internet playing games, ordering food, writing or reading, conducting business, etc., to

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

’s old family cabin. The film opens and closes with scenes from their wedding video. They recount the details of their meeting (Paul’s food poisoning, a corporeal abjection) and of their previous attempts to go camping upstate. Bea’s story centers on an

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Sol Neely

Salon describes the film simply as “torture porn,” but she notes that her colleague Mary Elizabeth Williams describes the film as saying “something at times powerful about masculinity”—noting, “[t]he boys are picked on, they’re the bottom of the food

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Andrew J. Webber

exchanges the ring for food. 11 Anagnorisis is the term given by Aristotle to the scenario of recognition or revelation of identity upon which a work of literature turns. This is one of the points at which the film departs from the model of Seiffert