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Pascal Wallisch and Jake Alden Whritner

produced movie achieves much higher synchronization between viewers than footage of unstructured scenes ( Hasson et al. 2008 ). This is also reflected in the intersubjective synchronization of brain activity ( Hasson et al. 2004 , 2009), particularly in the

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Museums and the Educational Turn

History, Memory, Inclusivity

Jens Andermann and Silke Arnold-de Simine

Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.

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Narratives of Ambivalence

The Ethics of Vulnerability and Agency in Research with Girls in the Sex Trade

Alexandra Ricard-Guay and Myriam Denov

a relational space of intersubjectivity. Ethics embraces much more than the institutional rules, requirements, and guidelines of conduct, and constitutes a continuum as well as a process, and in that sense a relational and interactional process. By

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Catalin Brylla and Mette Kramer

frameworks as well as institutional practices. This mapping relates not only to the study of audiences, but also to the study of filmmakers and their practices. He considers documentary reception as an intersubjective mediation of reality involving a

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Jens Eder

roughly singling out certain areas of the multidimensional field of affects, whose dimensions—intentional focus, hedonic valence, duration, clarity, intensity, consciousness, cultural formation, control, inter-subjectivity, and language-dependence, among

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“Hot-for-Teacher”

Statutory Rape or Postfeminism in Pretty Little Liars?

Shara Crookston

-hallways-bullying-teasing-and-sexual-harassment-in-school.pdf (accessed 9 May 2017 ). Angelides , Steven . 2009 . “ Inter/subjectivity, Power and Teacher-student Sex Crime. ” Subjectivity 26 : 87 – 108 . 10.1057/sub.2008.32 Armstrong , Jennifer . 2010 . “ Pretty Little Liars: Four New Books on the Way

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

, Practice, and Spectatorship (2014), Jane Stadler’s Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics (2008), and Lisa Downing and Libby Saxton’s Film and Ethics: Foreclosed Encounters (2010) may signal a determination to reach

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Challenging Substantive Knowledge in Educational Media

A Case Study of German History Textbooks

Lucas Frederik Garske

“strategic knowledge.” I use the term “strategies” instead of “strategic knowledge,” since cognitive efforts such as “judging,” “searching out,” and “making sense” cannot be measured intersubjectively. 24 Lee and Shemilt, “A Scaffold Not a Cage,” 14. The

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Wyatt Moss-Wellington

University Press . Stadler , Jane . 2008 . Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics . New York : Continuum . 10.5040/9781628928891 Stark , Evan . 2007 . Coercive Control: How Men Entrap Women in Personal Life . New York

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

identification with a diegetic character. Film viewing is thus conceived as a venue for dynamic intersubjective communication, involving the spectator, the film, and the maker. 3 In this article I highlight haptic apparatuses at work in Solomon’s films. Beyond