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Narrating (Sur)face

The Marquardt Mask and Interdisciplinary Beauty

Kallie Strode

beholder” or is only “skin deep.” Beyond these slogans, we attempt to pin beauty's wings in a fury of quantification; namely, by rendering facial beauty as physiognomic data. Such datafications of the face often synonymize beauty with facial sparseness

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The Aesthetic of Grotesque in Lu Yang's Delusional Mandala and Delusional World

Gabriel Remy-Handfield

focus on two aspects of Lu Yang's aesthetic of the grotesque: faciality and the grotesque body. In Delusional Mandala , the grotesque materializes through a specific feature unique to Lu Yang's creations: a repetitive focus on the artist's own face

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Postwar Facial Reconstruction

Georges Franju's Eyes Without a Face

Stefanos Geroulanos

This essay proposes a reading of Georges Franju's Eyes Without a Face that focuses on the cultural and philosophical contexts of the face, its destruction, and imagined reconstruction in postwar France. The film foregrounds the protagonist's lack of a face and the effort to restore it into a cinematic argument heralding the ruin of natural beauty and genuine face-to-face relations, an approach that in turn theorizes the postwar world as premised on ethical and aesthetic opacity. By considering contemporary treatments of the face, as well as the representations of injury and violence, the essay argues that at stake in the political and aesthetic judgments proposed by the failed face transplants in the film was a concern with the technological reconstruction of a natural and pure state, a reconstruction that was now seen as impossible and could have devastating consequences at the ethical and aesthetic levels.

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Cinematographic High-Contrast Lighting Can Facilitate Empathetic Affective Mimicry

Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg

cinematic empathy. Expanding prior behavioral research ( Lotman 2016 ), we turned to facial electromyography to study whether high-contrast lighting would amplify empathic mimicry of emotional expressions displayed in film-like clips. From Affective

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Constructing Film Emotions

The Theory of Constructed Emotion as a Biocultural Framework for Cognitive Film Theory

Timothy Justus

expressing ( Kania 2020 ). By contrast, it might seem as though at least one source of emotional expression in film is relatively straightforward: characters and other depicted persons are thought to communicate emotion through their facial (and vocal

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Emoji

A Baroque Body in the Theatricality of Online Interactions

Amin Heidari

-based channels, in contrast to face-to-face encounters where nonverbal clues like body language, facial expressions, and gestures play a vital part in transmitting emotions and forging connections. Since the physical body is absent in online texts, communication

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Growing Old (Dis)gracefully

Spanish Masculinities and Contemporary Star-Celebrity Culture

Jacky Collins and Sarah Gilligan

. For the purposes of this article, following an initial contextualizing discussion of their shifting screen status, we offer a close textual analysis of costume, facial hair, and the body in a pairing of the star's recent films: Dolor y Gloria ( Pain

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Who Says Only Men Have a Beard?

Revisiting the Question of Gender Ambiguity in Persian Poetry

Fateme Montazeri

are likely to praise a male patron or a female character. This article shall focus on the case of the beloved's facial hair, referred to as ‘ khaṭ ’ (lit. line) and ‘izār’ (lit. the line of a beard, or sideburns) respectively used in reference to one

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Rhetoric, Torture, and Surveillance Time

Laura A. Sparks

particular, has become increasingly important as in the use of real-time facial recognition software in cities across the globe 6 and the deployment of drones for aerial surveillance. 7 I coin the term “surveillance time” to highlight the ways in which

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Seeing Faces: Sartre and Imitation Studies

Beata Stawarska

This article discusses experimental studies of facial imitation in infants in the light of Sartre's and Merleau-Ponty's phenomenological theories of embodiment. I argue that both Sartre's account of the gaze of the other and Merleau-Ponty's account of the reversibility of the flesh provide a fertile ground for interpreting the data demonstrating that very young infants can imitate facial expressions of adults. Sartre's and Merleau-Ponty's accounts of embodiment offer, in my view, a desirable alternative to the dominant mentalistic interpretation of facial imitation in terms of the theory of mind.