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Twofoldness in Moving Images

The Philosophy and Neuroscience of Filmic Experience

Joerg Fingerhut

). Smith's book constitutes a milestone for the naturalized aesthetics of film, yet, as I argued, it also underplays the role of twofoldness in our engagement with filmic scenes. In the scene at issue, the villain, Bruno (Robert Walker), drops a lighter

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“Such a Poor Finish”

Illegitimacy, Murder, and War Veterans in England, 1918-1923

Ginger S. Frost

villains and victims, which was one reason why infant victims largely disappeared; they had not developed enough personality to be interesting. Thus, Thomas and Frances became the focus. In contrast, the police were leery about sentimentalizing offenders

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Gauging the Propagandist's Talents

William Le Queux's Dubious Place in Literary History: Part Two

A. Michael Matin

War in the Air was one of the many texts in which ‘the villain of the piece, the White Peril, was Prussia and her millions of German conscripts’. 80 And he observed that, subsequently, the project of publicly legitimising the war effort was largely

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Jules Vallès and Séverine

Romantic Socialism and the Afterlife of a Cross-Sex Friendship in French Political Culture, 1880–1929

Michael Mulvey

corpus. 29 Daudet perhaps overlooked the fact that the true villain of Vallès’s pseudoautobiographical trilogy of L’Enfant (1876), Le Bachelier (1879), and L’Insurgé (1886)—more than Napoleon III, Adolphe Thiers, or the bourgeoisie—was Vallès

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To Be or Not to Be a Hero

Recognition and Citizenship among Disabled Veterans of the Sri Lankan Army

Matti Weisdorf and Birgitte Refslund Sørensen

.1080/00141844.2012.691523 Mauss , Marcel . 1990 . The Gift: the Form and Reason for Exchange in Archaic Societies . London : Routledge . McCartney , Helen . 2011 , “ Hero, victim or villain? The public image of the British soldier and its implications for Defense

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“Is He Talking to Me?”

How Breaking the Fourth Wall Influences Enjoyment

Daniela M. Schlütz, Daniel Possler, and Lucas Golombek

(online first). “ The Impact of Moral Expectancy Violations on Audiences’ Parasocial Relationships with Movie Heroes and Villains. ” Communication Research , 1 – 23 . doi: 10.1177/0093650219886516 . Brecht , Bertolt . 1969 . Schriften zum Theater

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“I Am Trying” to Perform Like an Ideal Boy

The Construction of Boyhood through Corporal Punishment and Educational Discipline in Taare Zameen Par

Natasha Anand

’s repeated failures at school. By this point in the story, Ishaan is already othered in terms of his boyhood masculinity so that dyslexia acts as merely another villain, as it were, in the plot that furthers this othering. Much like the examination in the

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A Gloomy Carnival of Freedom

Sex, Gender, and Emotions among Polish Displaced Person in the Aftermath of World War II

Katarzyna Nowak

Horodyska, Doczekać świtu , 176–178. 39 Renfrew, Mikhail Bakhtin , 141–143. 40 Nowakowski, Camp of All Saints , 276. 41 Vetulani-Belfoure, Z ziemi egipskiej , 39. 42 Horodyska, Doczekać świtu , 168. 43 Atina Grossmann, “Victims, Villains and

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Wyatt Moss-Wellington

produced by this type of narrative famously led to the television broadcast of a qualification during Taxi Driver ’s (Martin Scorsese, 1976) end credits: “To our Television Audience: In the aftermath of violence, the distinction between hero and villain is

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Emergent Police States

Racialized Pacification and Police Moralism from Rio's Favelas to Bolsonaro

Tomas Salem and Bjørn Enge Bertelsen

, vindicating drug trafficking, crime, violence, and presenting the traffickers as heroes … So as long as the residents and the funk rappers keep spreading the idea that the trafficker is the hero, I will be the villain in the eyes of everybody, and nobody will