1. “Ain’t Got No Chance”: The Case of The Breaking Point
  2. Michael Civille
  3. pp. 1-22
  4. DOI: 10.1353/cj.2016.0051
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  1. Slow Time, Visible Cinema: Duration, Experience, and Spectatorship
  2. Tiago de Luca
  3. pp. 23-42
  4. DOI: 10.1353/cj.2016.0052
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  1. Orson Welles, Author of Don Quixote, Reconsidered
  2. Adalberto Müller
  3. pp. 43-62
  4. DOI: 10.1353/cj.2016.0053
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  1. “Here Comes the Show Boat!”: Show Boat and the Case for Regionalism
  2. Patricia Oman
  3. pp. 63-87
  4. DOI: 10.1353/cj.2016.0054
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  1. Skin Flicks: Haptic Ideology in the Peplum Film
  2. Robert A. Rushing
  3. pp. 88-110
  4. DOI: 10.1353/cj.2016.0055
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  1. What Keeps Me Up at Night: Media Studies Fifteen Years after 9/11
  2. Anna Froula
  3. pp. 111-118
  4. DOI: 10.1353/cj.2016.0056
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  1. When Terrorism Met the Plague: How 9/11 Affected the Outbreak Narrative
  2. Dahlia Schweitzer
  3. pp. 118-123
  4. DOI: 10.1353/cj.2016.0057
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  1. The Changing Shape of Our Fears
  2. Stacy Takacs
  3. pp. 124-131
  4. DOI: 10.1353/cj.2016.0058
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  1. The Aesthetics of the Procedural in Post-9/11 Cinema
  2. Fabrizio Cilento
  3. pp. 131-136
  4. DOI: 10.1353/cj.2016.0059
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  1. “It Was Like a Movie,” Take 2: Age of Ultron and a 9/11 Aesthetic
  2. Karen Randell
  3. pp. 137-141
  4. DOI: 10.1353/cj.2016.0060
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  1. The Subject of Torture: Psychoanalysis and Biopolitics in Television and Film by Hilary Neroni (review)
  2. Jason Middleton
  3. pp. 143-147
  4. DOI: 10.1353/cj.2016.0061
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  1. Torture Porn in the Wake of 9/11: Horror, Exploitation, and the Cinema of Sensation by Michael Aaron Kerner (review)
  2. Chiara Francesca Ferrari
  3. pp. 147-150
  4. DOI: 10.1353/cj.2016.0062
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  1. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq by J. Martin Daughtry (review)
  2. Corey K. Creekmur
  3. pp. 151-156
  4. DOI: 10.1353/cj.2016.0063
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  1. Parallel Lines: Post-9/11 American Cinema by Guy Westwell (review)
  2. Cynthia A. Young
  3. pp. 156-159
  4. DOI: 10.1353/cj.2016.0064
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