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Wyatt Moss-Wellington

our behavior with social norms of responsibility ( Cooper and Fazio 1984 ), or that we are motivated to preserve moral and adaptive self-integrity ( Steele 1988 ). Others attempted more unifying theories ( Stone and Cooper 2001 ) and advocated a return

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Sam Roggen

-driven approach of the silent era and depth staging, which was popular, although not the norm, in the 1940s and early 1950s. Both strategies implied a less subtle way of integrating detail into the composition, although this had as much to do with the 1.33:1 (or

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

Method, that any art form is constructed according to the norms typical of the earlier stages of psychological functioning. Furthermore, Vygotsky and Luria were interested not only in the development of concepts, but also in their disintegration as a

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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

they also complexify viewing experiences by their effect. Thus, on the one hand, the complexity of these films is a constructional one, problematizing mimetic representational norms and rules of classical narratives. By using unusual formal

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

technology changes subjectivity and reconfigures sociocultural norms. The advent of virtual humans and synthespians also challenges what it means to be human in relation to embodied technologies such that the figure of the cyborg has become the main conduit

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James K. Beggan

conflict implicitly. Just as Katherine Frank (2003) described the appeal of the strip club as a foreign land where gender norms are reversed because beautiful women vie for the attention of men, external ejaculation inverts the direction of sexual

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

characters. The movie's general experiential dimension, however, deconstructs and deviates from the norms of the genre, and presents an interactive challenge that is mainly based on the absolute impossibility of engaging with a coherent, reliable

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Sermin Ildirar and Louise Ewing

the narrative abilities that function to allow children to link events are constrained by broader cognitive development issues, expressive language abilities, and children’s (un)familiarity with the narrative norms of their literate society. Somewhat

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

practices, and a great deal of what we want to know about art concerns this normative dimension. For example, in film studies we seek to clarify the conventions that define cinematic genres, or the stylistic norms employed by filmmakers within particular

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

The behaviors and actions that an individual carries out in their daily life and how they are translated by their society overdetermine the gender one might have—or not—according to social norms. However, do the postulates enounced by feminist and queer Western thinkers still maintain their validity when the context changes? Can the performances of gender carry out their validity when the landscape is other than the one in Europe or the United States? And how can the context of drag complicate these matters? These are the questions that this article will try to answer by analyzing the 2015 movie Viva by Irish director Paddy Breathnach.