In order to get a fine-grained understanding of the functions of performer expressiveness in filmic narratives, it is necessary to pay attention to how we conceptualize emotions. One of the problems in studying film performances is that looking only
Jochen Maurer and Gerhard Sälter
The border guards were what made the Berlin Wall both function and lethal. Without them, people could escape nearly without any hindrance. Thus, it is crucial to understand the role of the border guards, who they were, and how they were prepared for their duty. They had a double task: preventing citizens, in most cases respectable and unarmed, from fleeing; and serving as an initial front-line defense in case of war. The military aspect of their mission, however, remained hypothetical, whereas preventing escapes became their daily duty. The duplicity of their task, with the military aspect determining armament, training, and structure no doubt increased the number of fatalities at the border.
Kathrin Fahlenbrach and Barbara Flueckiger
Although some research has been done about narrative functions of title sequences in television series, this article focuses on their affective implications for viewers. Concentrating on immersive styles in trailer sequences of quality series, the article discusses diverse strategies of their affective priming, asking: How do immersive openers prime the viewers' affective appraisal of the show to follow? And how do they prepare them for the leading “feeling tone” (Plantinga 2009: 166) and mood of a series' world? Using the popular openers of the series Dexter, Six Feet Under, and True Blood, the article analyzes in three in-depth analyses successful immersive strategies for affective priming. They argue that these immersive title sequences use embodied metaphors, and symbols of collective imagery to create ambivalent affective cues that even tend to create mixed feelings in the viewers.
Dafna Lemish and Shiri Reznik
This study explores gender differences in the roles of humor in the lives of Israeli children. Thirty-four Jewish middle-class Israeli children, sixteen girls and eighteen boys, aged between eight to ten years, were interviewed in focus groups in which they discussed a variety of humorous video segments, jokes, and everyday humor. The analysis suggests that humor in interaction is a highly gendered process in this age group and is employed differently by boys and girls to perform their gendered identities. Girls engaged much less in sexist and aggressive humor and clearly used it to maintain their separateness from boys and younger children. We conclude that humor provides us with another avenue through which to unveil the complicated processes of gender construction in pre-adolescent childhood, while demonstrating at the same time the ambivalence and complexity involved in these processes.
Both the slasher movie and its more recent counterpart the “torture porn“ film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the “pure moment of murder“: that is, the moment in which two characters' bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other.
How the “Broken” Road Becomes a Site of Belonging in Postindustrial Eastern Siberia
-identification, and therefore forging of identities. Second, the broken road provides space for the emergence of transient and stable socialities. Third, the broken road functions as a heuristic tool for storytelling evoking fantasies, memories, and visions of the
Past and Present
Yvonne Friedman and Shulamit Furstenberg-Levi
article aims to trace the origins and evolution of the varied functions filled by contemporary guides of Holy Land pilgrims, Catholic pilgrims’ guides in particular. The time frame of this study begins in the fourteenth century, when Franciscan friars
nonetheless remains open to debate. In what sense, if any, can literature be ‘philosophical’? Are these two independent modes of writing, or does literature have a significant and distinctive philosophical function? And, in the latter case, how might the claim
A Reply to Critics
examination of Hollywood style into two categories: primary functions (clarity and expressiveness) and secondary ones (decoration, harmony, and dissonance). He points out, with an adroit turn to Chinatown (Roman Polanski, 1974), that in my system the same
Some Research Perspectives
Adam White and Stefan Robinson
Sport has traditionally been tasked with the social function of developing masculinity among boys and men in Western society ( Connell 2008 ; Mangan 2000 ). Through its homosocial and hypermasculine structure, sport was useful for the construction