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Amir Har-Gil and Inbal Ben-Asher Gitler

Architecture and landscape constitute key aspects of fictional realistic drama in film and television. In fictional films whose plots take place on Israeli kibbutzim, on-site cinematography is a central means of achieving a realistic and dramatic portrayal of the communal settlement and its social space. In this article, we investigate five productions filmed on location at Kibbutz Yakum. We argue that these filmic representations of architecture and landscape reify the image of the kibbutz as an introverted society that denies individuals their privacy and upholds the centrality and presence of community. By comparing the actual sites with their presentation in films, we show that the physical space of the kibbutz was filmed selectively in a manner that immortalizes its communal, 'classical' image, which in reality no longer exists. The kibbutz's transformation from a communal to a privatized society is purposely veiled in these films, preserving the kibbutz's established image.

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Ron Tamborini, René Weber, Nicholas David Bowman, Allison Eden, and Paul Skalski

Historically, debates over media violence have been a central focus of media research. Yet lacking from these debates is a meaningful discussion about the conceptualization of media violence. We argue that violence is not a monolithic construct, and is based on viewer perceptions of specific types of images and framing in media content. This idea has scholarly precedence: In 2002 and 2003, Potter and his colleagues proposed that perceptions of violence are formed as audience members make assessments about the relative levels of (in order) graphicness, realism, and justification for witnessed, on-screen violent actions. This article furthers this tri-partite conceptualization by using a binary-choice conjoint analysis to determine the role of each attribute in guiding audience perceptions of and preference for violent media in film and video games. For both media types, justification was the most central factor in shaping perceptions of violence, but realism was the most important predictor for the preference of violence.

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James E. Cutting, Catalina Iricinschi, and Kaitlin L. Brunick

This article presents a new method to create maps that chart changes across a cinematic narrative. These are unlike narrative spaces previously discussed in the literature—they are abstract, holistic, dynamic representations based on objective criteria. The analysis considers three films (All About Eve, Inception, and MASH) by counting the co-occurrences of main characters within scenes, and 12 Angry Men by counting their co-occurrences within shots. The technique used combines the statistical methods of correlation, multidimensional scaling, and Procrustes analysis. It then plots the trajectories of characters across these spaces in All About Eve and Inception, regions for characters in Inception and MASH, and compares the physical arrangement of jurors with their dramatic roles in 12 Angry Men. These maps depict the changing structures in the visual narrative. Finally, through consideration of statistical learning, the article explores the plausibility that these maps mimic relations in the minds of film viewers.

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Margit Sinka

Launched in 1998 on the eve of the eighth Day of German Unity, the Denk ich an Deutschland television film series was intended to reframe discourses on national identity formation in a positive light through documentaries focused on the present rather than on the dark German past. While Andreas Kleinert's Niemandsland (No Man's Land, 1998) and Andreas Dresen's Herr Wichmann von der CDU (Vote for Henryk!, 2003), the first and last films televised, do center on the present, they highlight dissonances between personal and national concerns. Still, Kleinert deconstructs the dissonances and artificial syntheses he himself invents in order to reveal them as constructs to be reconfigured by viewers. By showing the inability of politicians to bridge the gap between personal and national concerns due to the erosion of their private identities, Dresen also appeals to viewers to initiate needed societal changes themselves.

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

The label “feel-good film” has been widely used in recent discourse on cinema ( Brown 2015 ; Burnetts 2009 ; Egan and Leder Mackley 2013 ; Hjort 2010 ; Rees 2015 ). At the same time, despite some efforts to arrive at a clear-cut concept of

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Jens Eder

The philosopher Matthew Ratcliffe (2005 , 2008 ) introduced the concept of “feelings of being” or “existential feelings” into the philosophy of mind. In this article, I show how this concept is relevant to film and media studies, focusing on

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The iAnimal Film Series

Activating Empathy Through Virtual Reality

Holly Cecil

. I present a case study of the iAnimal series produced by Animal Equality (U.K.), which made its public debut at the Sundance Film Festival in 2016 with its first VR documentary short film, Factory Farm (2016). This twelve-minute film guides

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A Film Never Completed

Representing Social Relations in a Mixing Neighbourhood

Regev Nathansohn

and from there to the street-art shop, where we hear a dialogue between an Arab and a Jew looking for a spray can to paint graffiti against the occupation. This script was written for a film project that began in the fall of 2010 and lasted for a

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Black and White on the Silver Screen

Views of Interracial Romance in French Films and Reviews since the 1980s

Jon Cowans

This article explores French attitudes about race during and after the years of the National Front's breakthrough by looking at French films and film reviews on the topic of interracial couples. In a country in which antiracists have been reluctant to legitimize the concept of race by talking about it, but in which the far Right has made gains by proclaiming its own views on race, French film-makers in the 1980s and after broached the topic in numerous films, but they often did so in ways that avoided controversy or serious reflection on current French racism. French critics of both French and American films featuring interracial couples also sidestepped the most explosive issues, revealing a disinclination to discuss a troubling and divisive concept, but also a persistent belief that racism remained an American problem and obsession.

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Fanfic'ing Film

Queer Youth Cinema Reclaims Pop Culture

Andrew Scahill

Fairy Tales Film Festival 2018, Calgary Queer Arts Society, Youth Queer Media Program For the study of youth in cinema, we, as scholars, must always remind ourselves that most images we analyze are created by adults representing youth, not by