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“The Rain It Takes to Learn the Limits of the Self”

Wetness, Masculinity, and Neoliberal Erotics in Andrew McMillan's Playtime

Nicholas Hauck

body's curve into awkwardness” and negotiating what he describes as the “rules and the lessons [he would] come to know by heart” (2018: 7). Many of the poems in Playtime are confessional, personal poems, sometimes uncomfortably intimate. The

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Elizabeth J. McLean, Kazuki Yamada, and Cameron Giles

analysis tease out the relation between art and life that was so pivotal to both artistic and moral discourses of the time, but also, as Anesko further traces the influence of Oscar Wilde's decadent poem “The Sphinx” (1894) and Charles Ricketts's embossed

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Beyond Binaries, Borders, and Boundaries

Mapping the City in John Rechy's City of Night

Eir-Anne Edgar

and wealth, loss and gain, producing poems that both mimic and deprecate the mercantilist vision of her social class” ( Burbick 1986: 363 ), this article uses “economy of desire” as a term that best describes the relationship between Rechy's hustler

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

-story was complemented with quotes and allusions from stories of Anton Chekhov and a poem by Mikhail Lermontov. See Andrew (2012) . References Andrew , Geoff . 2012 . “ Journey to the End of the Night .” Sight and Sound 22 ( 4 ): 28 – 32 . Arslan

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

, the inside and outside of buildings, and the ochre red of logs, as well as the snow, water, and marshlands, before dwelling for some time on Pedersen, who stands reading in the landscape. The poem being read in this non-naturalistic staging of human

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India Halstead

artist had taken to writing poems to pass the time and escape her solitude. A work like Pencil Mask may hint at the possibility of writing as communication or creative release. Yet it is also visually disturbing and restrictive, keeping the wearer

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Jens Eder

small girl’s voice singing a song about death, then cuts to a close-up of a clock radio reciting Rilke’s sad poem “Autumn Day.” The protagonist Caden Cotard (named after Cotard’s syndrome and played by Philip Seymour Hoffman) lies in bed and stares

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Eliza Deac

writing only that survives the poet and grants him a form of immortality, despite the fact that it constitutes a poor replacement for his bodily presence. Consequently, his written poem becomes the transcription of a voice from beyond the grave or the

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

an inexperienced soldier trapped in a terrifying battle, Baudelaire’s early wanderings through the streets of Paris, in this account, left him in a state of emotional disarray. The writing of poems emerges from this diagnostic point of view as a

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

published a four-stanza poem, “Deus Ex Machina,” that gently mocked the “part mechanical, part make-believe” quality of the age of the “moving-talking, ten-cent picture show” ( Bowling 1912: 114 ). The third stanza questions what is lost and gained when