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Edited by Stephen Prince

“best performance” or lists that one can find online of the top fifty horror films or top films in other genres suggest that a consensus of informed opinion underlies the rankings. Pascal Wallisch and Jake Alden Whritner provide an empirical study of the

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Ted Nannicelli

the acting of Ivan Mozzhukhin, who is today best known for his putatively “blank” expression in Kuleshov’s editing experiments. Riis’s rich analysis of Mozzhukhin’s performances counters this erroneous legacy with which the actor has been saddled. The

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Who (the) Girls and Boys Are

Gender Nonconformity in Middle-Grade Fiction

Michele Byers

. Michelle Abate (2008) reads eight-year-old Georgia in Tomboy Trouble ( Wyeth 1998 ), as an active participant in her own gender performance, arguing that the book reveals that “gender is not something that is , but rather something that is continually

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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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How to Survive the Postfeminist Impasse

Grace Helbig’s Affective Aesthetics

Catherine McDermott

postfeminism. Instead, I argue that an affective approach is key to understanding how performances like Helbig’s work both with and against postfeminist cultural norms. For instance, Berlant’s coinage of the term “juxtapolitical” (2008: 10) opens up discussion

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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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I’m Not Loud, I’m Outspoken

Narratives of Four Jamaican Girls’ Identity and Academic Success

Rowena Linton and Lorna McLean

discussion of how these responses influenced their performance of what we call black womaness. Suffering Injustices at School The girls felt that injustices were present in their schools, classrooms, and society, as was evidence of discrimination, especially

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Marie Puysségur

framed by risk and possibility. Girls, Catherine Driscoll posits, are “products and performances of the long history of Western discourses on gender, sex, age, and identity” (2002: 7) that have defined feminine adolescence as the disruptive boundary