Archives Displaying 21 - 30 of 634 Sort by Oldest firstNewest first The Dark Side of Dating Reality TV October 7, 2024 to October 12, 2024Theme week organized by Dr. Narissra Punyanunt-CarterTexas Tech Universiy Perfect MatchBy Anahita Azarfaza Monday, October 7, 2024 Love on the Line: Relationship Turning Points on 90 Day FiancéBy Aubree Herman Tuesday, October 8, 2024 The Concept of Isolation in Reality Dating Shows like The Bachelor By Carson Ward Wednesday, October 9, 2024 Unveiling the Dark Side of Reality Dating Shows: A Case Study of Deception in “The Perfect Match Extra Dating Show by TV3”By Rhoda Asabea Osei Thursday, October 10, 2024 Quasi-Hyperpersonal Communication and Deception in Love is BlindBy Joshua P. Sills Friday, October 11, 2024 Deception and Belittlement: Unveiling the Dark Sides of Communication in ’90 Day Fiancé’ By morgan.ortegon.ttu Saturday, October 12, 2024 David BordwellSeptember 22, 2024 to September 27, 2024Theme week organized by Sara Ghazi AsadollahiGeorgia State University The lasting legacy of David BordwellBy Yuri Tsivian Monday, September 23, 2024 John Woo Is God!”: David Bordwell, Popular Aesthetics, and Hong Kong Action CinemaBy Henry Jenkins Monday, September 23, 2024 Dissertating with Bordwell: Gratitude and a Touch of RegretBy Carl Plantinga Monday, September 23, 2024 The Future of Historical Poetics—Now By Colin Burnett Monday, September 23, 2024 X-Men '97September 16, 2024 to September 22, 2024Theme week organized by Anthony DannarAuburn University “We are no longer connected, Jean”: The alienation of X-women ’97By Christina Knopf Monday, September 16, 2024 Assembling Fanboy AuteurismBy Kalervo A. Sinervo Tuesday, September 17, 2024 Musings on Race in X-Men '97By Mychal Reiff-Shanks Wednesday, September 18, 2024 “It’s Disney, what do you expect:” Anti-woke discourse in X-Men ‘97 fandom By Anthony Dannar Thursday, September 19, 2024 Anxious Love, Anxious Laughter: The Art of Comedy in American Jewish Films.September 9, 2024Theme week organized by Joseph OziasUniversity of Cincinnati On the Cringe of Success: Finding the Humor in the Pain in Claudia Weill’s Girlfriends By Joseph Ozias Monday, September 9, 2024 The Good, The Bad, and The Ugly: How A Car Ride Can Make or Break a Relationship in The Heartbreak Kid By Stella Fried Monday, September 9, 2024 “You’re Hurting Me”: Comedic Rhythms for Tragic Ends in Ronald Bronstein’s FrownlandBy Clark Comstock Monday, September 9, 2024 Uncertainty and Liminality in the Coen Brothers’s A Serious Man (2009) By Bryce Bullins Monday, September 9, 2024 "To Speak or to Die”: Voice, Love, and Loss in Call Me By Your NameBy Quinn Moyer Monday, September 9, 2024 Montage/Composite/Exchange IApril 15, 2024 to April 21, 2024Theme week organized by Jordan ChrietzbergGeorgia State University Call For An Editing Strike By Domietta Torlasco Monday, April 15, 2024 Images Travel as TransformatsBy Peter Szendy Tuesday, April 16, 2024 Offering it upBy Eugenie Brinkema Wednesday, April 17, 2024 The King's 289M Bodies: On Trump's Mug Shot and the Sovereign ImageBy Meghan Sutherland Thursday, April 18, 2024 Montage/Composite/Exchange IIApril 29, 2024 to May 5, 2024Theme week organized by Jordan ChrietzbergGeorgia State University From Editing to Découpage, and from Classical to Modern CinemaBy Dudley Andrew Monday, April 29, 2024 Montage and/as RelationBy Ryan Conrath Tuesday, April 30, 2024 Oración para Marilyn MonroeBy Sean Cubitt Wednesday, May 1, 2024 Montage OpaqueBy Adrian Martin Thursday, May 2, 2024 Cinema and Visual ArtsApril 22, 2024 to April 28, 2024Theme week organized by Sara Ghazi AsadollahiGeorgia State University Ornaments of Horror: Kubrick’s Carpet, Wallpaper, and the Rococo SurvivalBy Tomáš Jirsa Monday, April 22, 2024 Hiding in Plain Sight: Blackamoors in Classical Hollywood CinemaBy Susan Felleman Tuesday, April 23, 2024 100 Years of Eternity (Between Cinema and Painting)By Jennifer J. Wild Wednesday, April 24, 2024 The Dictionary of Obscure FiguresBy Alper Gobel Thursday, April 25, 2024 The CurseApril 8, 2024 to April 14, 2024Theme week organized by Mychal Reiff-Shanks Fielder Atones in The CurseBy Jason Potel Monday, April 8, 2024 Backyard Holocausts: The Curse and The Zone of InterestBy Paul Dobryden Tuesday, April 9, 2024 Horrible White Neoliberal Feminism in The CurseBy Sarah Lahm Wednesday, April 10, 2024 The Use of Music in The CurseBy Mychal Reiff-Shanks Thursday, April 11, 2024 Nathan's CurseBy Vinícius Portella Friday, April 12, 2024 Robert BressonMarch 4, 2024 to March 10, 2024Theme week organized by Sara Ghazi AsadollahiGeorgia State University What if Bresson’s Crew Had Not?By Raymond Watkins Monday, March 4, 2024 Robert Bresson’s The Devil, Probably: The Rhythms of Proletarian LifeBy Colin Burnett Alan Zhou Monday, March 4, 2024 On the Odd Satisfaction of BressonBy Jordan Schonig Monday, March 4, 2024 Christ and Metal: Une femme douce and its symmetriesBy Vahid Mortazavi Monday, March 4, 2024 Bresson’s Choreography of WritingBy Sara Ghazi Asadollahi Monday, March 4, 2024 Labor and the Moving ImageMarch 18, 2024 to March 24, 2024Theme week organized by Jordan ChrietzbergGeorgia State University The Labor of SpectatorshipBy Pansy Duncan Tuesday, March 19, 2024 Of Widows and Maids: Production, Reproduction, CaregivingBy Alessandra Raengo Wednesday, March 20, 2024 Media War: Boron LockoutBy John T. Caldwell Thursday, March 21, 2024 Zoned for Interest (Notes With and Around Serge Daney)By Jordan Chrietzberg Friday, March 22, 2024 Pages« first ‹ previous 1 2 3 4 5 6 7 8 9 … next › last »
