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Philip J. Hohle

reason that blockbuster film narratives indeed play a significant role in shaping people’s identities and worldview—even more salient in the construction of identity than other means of social norming. One of those strong-effects perspectives is

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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

to each other, its recurrent dialogue, simultaneously witty and banal, reveals the cruel and bitter relationship between different groups of provincial identities and social classes. Balancing dramatic ambiguity with deadpan humor, the film also

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Torben Grodal

in the film, and to simulate him only implies those features that are portrayed and made salient in the film. Similarly, viewers in real life do, in a given situation, only activate a small fraction of their total identity and full capabilities. Some

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

who were considered sexual minorities were all sent to these camps, which were later closed due to international and national pressures and due to the inappropriate conduct of the guards. Masculinity was also seen as a national identity. The

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Andrew J. Webber

attention. 2 Here, German film is intended to encompass films—including transnational productions such as Lore —made in and about Germany and directly bound up with its conditions of national identity. My particular concern is with childhood as a

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Pushing the Boundaries

Curating LuYang, a Global Artist Embedded in Local Situatedness

Nora Gantert and Malte Lin-Kröger

embeddedness in a Chinese-national context. At the same time, he seeks to blur gender identity in his works downright to his own pronouns. As he wrote in an email, “we are all just thinkers and creators,” 2 which underlines his artistic approach to put

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Lieke Hettinga and Terrance Wooten

shifted to make room for trans and gender-nonconforming actors, characters, and producers. This has not been without risk of overrepresenting trans people as “included” into the national body politic, enabling a progress narrative that suggests US civil

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Andrew J. Ball

oppositional symbolic form is appropriated by those in power and redeployed to maintain the existent hierarchy. In particular, Eddy tracks how the American film industry used the marginalized identities and emancipatory idiom of the slasher movie to reproduce

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Editor's Introduction

Screening Transgression

Andrew J. Ball

connecting the artists on view was a shared engagement with the body and its mediated image, raising important questions about representation especially in terms of identity, embodiment, race, gender, sexuality, class, and belonging.” We are also pleased to

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An Otaku with Chinese Characteristics?

Localizing Japanese ACG Currents in Lu Yang's The Beast

Fred Shan

medium, style, or national culture, leading curator Barbara Pollack to ask: “how could this possibly be Chinese art” ( Pollack 2018: 2 )? To Pollack, Lu hails from a new generation born into a China keen to substitute ideological orthodoxy for market