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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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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

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

’s layered soundtrack (personal interview, August 2014). The film’s title derives from Wallace Stevens’s poem The Snow Man (1921). In the film, a child, about three years old, is held in his parents’ arms or seen playing in their proximity. The mother, in

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

less of a sustained academic argument than a scrap-book of the contemporary life experience of being HIV positive. A turn of the page is just as likely to solicit a poem materializing the loss of memory (9) as it is a theoretical alignment of how “tact

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Andrew J. Webber

popular landscape poem by Matthias Claudius after Paul Gerhardt, to which Thomas responds by humming the tune antiphonally. Expelled from the nursery, they recuperate something of its effects of rest and care, and thus achieve a moment of cross

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

in other ways. In both the film scene and the literary excerpt, there were extra inserts, either diegetic (parallel events from the story itself) or non-diegetic (from an animated film and, for the literary version, from a poem). Unsurprisingly, the

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Film as the Engine for Learning

A Model to Assess Film's Interest Raising Potential

Winnifred Wijnker, Ed S. Tan, Arthur Bakker, Tamara A. J. M. van Gog, and Paul H. M. Drijvers

experiments that appraised novelty-complexity of test stimuli (poems, picture, geographical shapes) and estimated ability to understand these were predictors of interest. Interest can be called an epistemic emotion, as it arises in the pursuit of knowledge

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Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

Sitney with regard to the American experimental filmmaker Stan Brakhage, the lyrical film takes its name from the first-person expression of feeling in the lyrical poem. In the lyrical film, it is the filmmaker who serves as the film's first