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Catalin Brylla and Mette Kramer

real, everyday lives. However, docudramas (or fiction films that claim to be based on real events) with a coherently scripted diegesis closely linked to historical events that are anchored in collective memory, such as the 9/11 film United 93 (Paul

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Laura A. Sparks

Relying on select US government Torture Memos, this article develops the term “surveillance time” to highlight the ways in which surveillance practices, in this case within the material confines of post-9/11 detention centers, come to threaten humans’ subjectivities through temporal disruption and manipulation. While surveillance has lately been understood in digital terms, such as in corporations’ data-mining practices and in technologies like facial-recognition software, we should not neglect its material, embodied dimensions. Surveillance time ultimately asks us to reconsider how monitoring and information-harvesting practices blur the boundaries between human bodies and data. Attention to the relationship between torture and surveillance also opens up new possibilities for understanding the now-ubiquitous monitoring strategies integrated into everyday life.

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Sade for Sade's Sake

Inside Paul Chan's Transmedial Laboratory

Olivier Delers

backdrop of S/M images, but also highly referential, for instance when Colin Powell contributes a text on friendship that he borrows from Maurice Blanchot. 3 While Chan's work falls squarely in the category of post-9/11 art, it also gestures toward the

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

engagement and disengagement, which corresponds to any relationship. Caron invites us to consider HIV in terms of relationalities created by other kinds of public traumas: 9/11, the ongoing debate in France regarding the legality of wearing the hijab in

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Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait

criticism has disparaged Meyers's work, while academic film criticism has largely ignored it. In comparison, Roberta Garrett's “Gendering the Post-9/11 Movie: Love, Loss and Regeneration in Nora Ephron's Julie and Julia ” points to how the final film of one

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

://www.interaction.org/wp-content/uploads/2019/03/Mixed-Methods-in-Impact-Evaluation-English.pdf . Bordwell , David . 1989 . “ A Case for Cognitivism .” Iris 9 : 11 – 40 . http://www.davidbordwell.net/articles/Bordwell_Iris_no9_spring1989_11.pdf . Bordwell , David . 2006 . The

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Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

Lolabelle learned to paint and play the piano. (Rat terriers have great hearing and can learn up to 500 human words, we are told.) Tales about living in post-9/11 New York, the gathering of surveillance data, or the breeding of dogs by the United States