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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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Patrick Keating

this response, I offer some critical queries regarding Berliner's chapters on narration and style. While admiring the book's considerable strengths, I suggest two alternative ways of thinking about the aesthetic value of unity, disunity, clarity, and

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James E. Cutting

: Verlag von Wilhelm Engelmann . Wundt , Wilhelm . 1910 . Grundzüge der physiologischen psychologie . 6th ed. Leipzig : Verlag von Wilhelm Engelmann . Yerkes , Robert , and John D. Dodson , J. 1908 . “ The Relation of Strength of

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

the predominantly female-authored popular romance novel offers rich insight to scholars of men and masculinities. Allan, whose previous work on men's bodies and sexualities is an evident strength here, begins with an anecdote about E. L. James

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In Pursuit of Masculinity

On Aging Bodies, Migration and Youthful Masculinities

Usman Mahar

” to “fight” aging and remain beautiful. Men worried about the perception of their masculinity defined by their productivity, libido, and physical strength. A decline in the aforementioned attributes among others was seen as unfavorable, and youthful

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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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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

, different strengths, and roots in general human agency. For instance, contra many ideological film theories, to be quiet and attentive in a movie theater is not necessarily to be “sheep,” easily led by the nose into hegemonic fantasy, but to simply give