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Overlapping Time and Place

Early Modern England’s Girlhood Discourse and Indigenous Girlhood in the Dominion of Canada (1684-1860)

Haidee Smith Lefebvre

the subjugation of Indigenous females may run the risk of minimizing the positions of strength they maintained for centuries. Scholarly attention to what girls and young women said and did about the evolving social relations between Indigenous and Euro

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Perfect Love in a Better World

Same-Sex Attraction between Girls

Wendy L. Rouse

“know that this thing exists and should guard against its faintest expression.” She explained, “In my own case the strength of my love [for a woman] swept me off my feet, but I never believed that it was right or decent.” The biggest negative impact she

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

conception of horror as a “dark stage,” one that has a special appeal to women because it challenges gender expectations and norms (4). A great strength of the book is Schubart's embrace of “anecdotal evidence” in her analysis. This gives the text an

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Mario Slugan

Bazin holds that precisely this type of identity obtains between photographs and their objects. This means that Morgan’s dismissal of index theory as a description of Bazin’s commitment is unwarranted. In fact, index theory’s particular strength is the

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Benjamin C. Fortna

the national flag. The poem reads as follows: “Friend! I am a little soldier: I have that blood in my veins My eyes gleam with that fire I also want to wage war” — “O child, what is your strength?” — “Knowledge!” 24 Yet, at other times children

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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

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Jason Dean and Geoffrey Raynor

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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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

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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

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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