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Bettina Kümmerling-Meibauer

This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.

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Carl Plantinga

screen media, such as the use of fade-outs and end credits, and various uses of music that are not seen in literature. But how these relate to ethics is an important question and will be a research program for the future. Next is the issue of the

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

themselves, these women constantly focus on male needs and desires. The film makes it clear that women’s private parts—as the anatomical model shown during the end credits indicates—exist for male pleasure and the continuation of the patriarchal line rather

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The Rich Inferential World of Mad Men

Serialized Television and Character Interiority

Jason Gendler

’ mental states relied solely on episodic knowledge (or a blend of both episodic and serial knowledge). I then added the total for each type of enrichment, and divided each by the episode’s total running length, minus the opening titles and end credits

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Catalin Brylla and Mette Kramer

this level of audience awareness that the line between documentary and fiction becomes blurred. However, fiction films in general use clearer forms of indexing (with beginning and end credits), whereas documentaries tend to be indexed more ambiguously

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Wyatt Moss-Wellington

produced by this type of narrative famously led to the television broadcast of a qualification during Taxi Driver ’s (Martin Scorsese, 1976) end credits: “To our Television Audience: In the aftermath of violence, the distinction between hero and villain is