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David Bordwell

Understanding how spectators interact with films requires some theory of filmic representation. This article reviews three such theories. The first, a communication model, assumes that an artwork constitutes or contains a message passed from a sender to a receiver. The second, a signification model, assumes that the film operates within a system of codes and that the perceiver applies codes to signs in the text in order to arrive at meanings. This conception of film as signification may be found in both classic structuralist and post-structuralist accounts. The third, an empirical-experiential model, assumes that an artwork is designed to create an experience for the spectator. This article argues that the cognitive approach to film studies is founded on the third model of representation. The article also traces the strengths and limits of cognitive film theory and its theory of representation.

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Karen Pearlman

“Should You Rewrite in the Editing Room?” video, Sven Pape (2016b) is exercising his judgment about the structure and rhythm of a scene. We see him, bottom right, thinking through the material’s intentions, strengths, and limitations before rewriting by

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Laura T. Di Summa-Knoop

and now” but that may not be appropriate or plausible in the future. What appears as an obstacle to naturalist analysis is instead a strength for criticism, for criticism does benefit from a history of interpretations, from their mutability, and from

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Jacob Breslow, Jonathan A. Allan, Gregory Wolfman, and Clifton Evers

's bodies and sexualities is an evident strength here, begins with an anecdote about E. L. James's Fifty Shades of Grey (2011) , which was the subject of much chatter not only in popular media upon its success, but also apparently at conferences on men

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“The Dragon Can't Roar”

Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many

Antony Mukasa Mate

feminine dignity and nobility in the text. She opts to leave her husband because he commits adultery. Patricia decides to manipulate two men that embody British masculinity, leading to the death of one (Sydney). She uses the strength of her sexual

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Daniel Lewis

the right half of the brain with women and the left with men. 6 This was also represented in racial terms, with the rationality and strength of the left brain associated with civilization and therefore whiteness. The right brain became associated with

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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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Minority Report

Perceptions and Realities of Black Men in Heterosexual Porn

Darryl L. Jones II

” and serve as “a stimulus to anxiety” ( [1967] 2008: 151 ). Henry says that the fear that imbibed whites was born out of what they saw as black behavior exhibiting “the eruption of instincts that civilized people had under control. Strength

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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

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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