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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

the representation of emotions and on our recognition of the emotional states of characters in a scene from the German film series Heimat 3: Chronik einer Zeitenwende (Edgar Reitz, 2004). His choice of this example relates to the fact that it may

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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston

intellectual property but the “moral rights” of authors, such as the right to control the conditions under which one’s work is made public. German law, for example, rules that “Urheber ist der Schöpfer des Werkes” (The author is the creator of the work

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Torben Grodal

make the mix of causes of FEAR even larger, the bad guys are Germans, so the film may activate all the different clichés about cruel German efficiency, even though, again, the FEAR may for the more knowledgeable viewers get a humorous tint by letting

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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

. Alonso , Lisandro . 2001 . La Libertad . Argentina . Benning , James . 2009 . Ruhr . Germany . Bresson , Robert . 1951 . Diary of a Country Priest (Journal d’un curé de campagne). France . Ceylan , Nuri Bilge . 2011 . Once Upon a Time in

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Andreas Baranowski and Heiko Hecht

revolution, most psychological works on film were along the lines of clinical psychology—that is, they were mostly psychoanalytical. Two notable exceptions were Münsterberg’s Photoplay (1916) and Rudolf Arnheim’s Film as Art (first published in German in

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Ted Nannicelli

in artistically relevant ways. The Huppertz score, composed in Weimar Germany, invokes Wagner and Strauss, while Moroder’s score evokes a sense of 1980s postmodern pastiche—two very different sonic atmospheres that complement the image track in quite

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Qihao Ji and Arthur A. Raney

Suspension of Disbelief towards a Theory of Tolerance for the Usage of Fictional Films . Cologne, Germany : Halem Verlag . Böcking , Saskia , and Werner Wirth . 2005 . “ Towards Conceptualizing Suspension of Disbelief for Communication Research

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Philip Cowan

-length mirror, almost creating the infinite image familiar in Kane . Lieberman and Hegarty acknowledge German Expressionism’s influence on Toland (2010: 35), and I would consider that collaborating with Freund on Mad Love would have been a seminal moment for

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Catalin Brylla and Mette Kramer

. . Ward , Paul . 2005 . Documentary: The Margins of Reality . London : Columbia University Press . William , Jennifer Marston . 2017 . Cognitive Approaches to German Historical Film: Seeing Is

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Andrew J. Webber

on Cate Shortland’s 2012 feature Lore , a German-Australian co-production based on Rachel Seiffert’s narrative of the same name from The Dark Room (2001) and shot in Germany, in German, with a German cast. The film, set at the end of World War II