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Gargi Gangopadhyay

in the nineteenth and early twentieth centuries in the spheres of education and entertainment. The first section discusses Calcutta as a developing metropolis with better prospects of education for young boys, 4 examining how urban life and modern

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Education, Entertainment, and Indoctrination

Educational Film in Interwar China

Kaiyi Li

recreational effect of foreign educational films, and how Chinese educational films used both comedy and political propaganda to get their message across. The Educational Function of Film Film as a form of modern Western mass entertainment was imported to China

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Benno Nietzel

This article examines the intellectual discourse in West Germany on the role of entertainment in radio programs during the 1950s. Although accounting for most of the airtime and being an assigned mission of public broadcasters, many radio officials and experts continued to be suspicious of entertainment. Strongly adhering to the classical tradition of highbrow culture, these humanistic intellectuals had difficulties accepting entertainment as an integral component of broadcasting. The only discursive path for them to adopt entertainment as a legitimate concept was to discuss its specific contribution in the context of Bildung and Kultur. The article thus provides insight into how members of the cultural elites came-to-terms with the rise of popular culture during the 1950s.

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Sara Hall

Vibeke Rützou Petersen, Women and Modernity in Weimar Germany: Reality and Representation in Popular Fiction (New York: Berghahn, 2001)

Richard C. McCormick, Gender and Sexuality in Weimar Modernity: Film, Literature, and “New Objectivity” (New York: Palgrave, 2001)

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Sephardi Ballads

A Spanish Legacy

Hilary Pomeroy

Mediterranean, ballads became the most popular form of entertainment both because of their content and the role they played in family life. These highly dramatic poems were sung by women who handed the songs down to their daughters. They served various functions

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

, entertainment, and superficiality as standard feel-good film elements. In a similar vein, Georg Seeßlen (2012) identifies a focus on universal human problems and socially marginalized characters, a certain closeness to reality, the creation of a bond between

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Pueri Sunt Pueri

Machismo, Chivalry, and the Aggressive Pastimes of the Medieval Male Youth

Sean McGlynn

serious training for the business of war. The place of the tournament—the apogee of such entertainments as a form of medieval war games within a violent sports spectacle—will play a central role in the overall analysis. “Boys will be boys” (the Latin

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“Let Us Be Giants”

Masculinity Nostalgia and Military Edutainment in South Asian War Comics

Tehmina Pirzada

complete subservience and discipline from both the reader and the soldier. Conclusion An examination of Siachen and Haider emphasizes how the comics tacitly endorse militancy and warfare for the express purpose of entertainment, thereby

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Linda Gruen

nineteenth-century Latin American travel narrative about the United States did more than the task of light entertainment; it engaged with significant, ongoing period transnational debates regarding modernity, gender, and nation. Given their overriding

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Anthony Enns

interest in optographic narratives began to wane at roughly the same time that cinema emerged as a popular form of entertainment, yet the practice of optography continued to appear in several films in which severed eyes function as cameras or optical