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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 the

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Education, Entertainment, and Indoctrination

Educational Film in Interwar China

Kaiyi Li

Educational film, like modern textbooks, was a foreign educational tool that was imported into China no earlier than the 1920s. Only after Alessandro Sardi, the educational film expert appointed by the League of Nations, visited China in 1931 did

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Dan Flory

referred to in the film, both Gus and the “mulatto” Silas Lynch (George Siegmann) were designed to produce visceral revulsion on the part of the film’s main target audience. And it worked: one reviewer of the era stated, “[y]ou sicken at the sight of an

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

The final page of Murray Smith’s Film, Art, and the Third Culture concludes with a discussion of the gap between the mind, mental representations, mediated representations such as film footage, and the world that such representations depict: “Mind

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Erin Ash

—are valuable cultural artifacts for extracting and deconstructing the dominant ideologies that characterize our society ( Hughey 2014: 15–16 ). As the history of Hollywood films, box office records, Academy Award nominations, and critics’ reviews imply, films

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Meglio di ieri

Educational Films, National Identity and Citizenship in Italy from 1948 to 1968

Anne Bruch

role to film in its information policy. From 1946, and in particular after Prime Minister Alcide De Gasperi set up the public information office the Centro Documentazione della Presidenza del Consiglio in August 1951, a considerable number of short

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Philip J. Hohle

Popular films like Quentin Tarantino’s Inglourious Basterds (2009) provide an array of challenging characters all operating with a considerable degree of transgressive agency. Typical of films with a postmodern tone, no single character in

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Katie Kirakosian, Virginia McLaurin, and Cary Speck

First offered by the Anthropology Department at the University of Massachusetts Amherst (UMA) in 1990, ‘Culture through Film’ (CTF) is taken by between 150 and 300 undergraduates each semester. As an elective general education course taken by a

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Carl Plantinga

Film scholars, critics, filmmakers, and audiences all routinely employ intuitive, untutored "folk psychology" in viewing, interpreting, critiquing, and making films. Yet this folk psychology receives little attention in film scholarship. This article argues that film scholars ought to pay far more attention to the nature and uses of folk psychology. Turning to critical work on Alfred Hitchcock's Psycho, the article demonstrates the diverse and sometimes surprising ways that folk psychology is used in criticism. From an evolutionary perspective, the article defends the critic's and audience's interests in characters as persons. It also defends folk psychology against some of its most vocal detractors, and provides some guidance into how cognitive film theorists might employ folk psychology, arguing that such employment must supplement and correct folk psychology with scientific psychology and philosophical analysis. Finally, the article argues that the application of folk psychology to films is a talent, a skill, and a sensitivity rather than a science.

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What Was So Funny about Les Aventures de Rabbi Jacob (1973)

A Comedic Film between History and Memory

Michael Mulvey

the year, the film provoked widespread praise and limited criticism—although the latter included a plane hijacking in protest against the film. Rabbi Jacob represented a serious moral-political effort to promote a transcendental French reconciliation