bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Cinema Centaur
Authors: Kelly Catriona 
Published: July 2021

Abstract
The 1960s witnessed the transformation of “film factories” from metaphor to lived reality. Lenfilm’s output rose once more to the levels its predecessor studios had reached in the 1920s, but the conditions of production were now far more complex and demanding, with staffs more than ten times the size. And while the 1960s was an era of optimistic emphasis on the Soviet film industry’s capacity to equal and surpass the world in technological terms, during the 1970s, the conviction took hold that the technological superiority of Western films was of direct relevance to audience share. Increasingly, ambitious filmmakers petitioned Goskino for permission to shoot on Kodak and to use Arriflex cameras; criticism of inferior Soviet film stock and GDR-produced film editing tables mounted, both across the USSR and at Lenfilm itself. Yet investment in studio infrastructure and technology remained at best haphazard, particularly at Lenfilm, which enjoyed less generous support from the center than Mosfilm, but also more limited resourcing than film studios in the capitals of Soviet republics. At the same time, Lenfilm had an unusually diverse, energetic, inventive, and loyal workforce, with corporate values that inspired manual workers and porters as well as “creative” personnel. Hierarchical at some levels, the work culture was egalitarian at others, and the frenetic process of scrambling to finish films in trying circumstances created strong bonds. The chapter explores the various conflicts and contradictions, but also rewards, that this situation generated.
Pleasure and Danger
Authors: Kelly Catriona 
Published: July 2021

Abstract
Yuly Fait’s A Boy and a Girl (1966) created great controversy while it was being made and in the months leading up to its premiere in Moscow (immediately before which, the movie was pulled from the screen). The chapter contends that the reason for the uproar lay less in the sexual relationship between two teenagers at the heart of the film (which was present in the original script by prominent writer Vera Panova, and had not caused trouble during discussions) than in the alteration of nuance and tone that occurred during the filming, and especially the way in which Fait placed questions of pleasure and sensual gratification at the heart of the narrative.
Personal Happiness
Authors: Kelly Catriona 
Published: July 2021

Abstract
Vitaly Melnikov is best known for his film comedies, beginning with the children’s movie, Gruff Visits Bobby (1964), the merry tale of the havoc created when a street dog decides to visit the home of his pampered canine friend. Mother’s Got Married (1969), which portrayed a late teenager trying to adjust to his mother’s recent and unexpected marriage, had a less easily defined emotional register. The film chimed with new views of the status of happiness that had emerged during the Thaw, yet there were also complaints that its central characters were “nothing like the real working class.” This chapter traces the movie’s difficult progress to the screen, and in particular the challenges posed by scriptwriter Yury Klepikov and Vitaly Melnikov’s decision to explore the uncommunicative emotional life of people often ignored in the Soviet cinema.
Fervor and Tenderness
Authors: Kelly Catriona 
Published: July 2021

Abstract
The production of “major films” was an insistent preoccupation of Soviet cinema’s regulatory bodies both at government and at Party levels. A director regarded as particularly successful in this respect was Gleb Panfilov. His 1975 film, May I Speak?, addressed issues of personal responsibility. The balance of public and family duties, which were of enormous importance in political debates at the time the screenplay was written, and its sympathetic portrait of a leading official were reassuring to commentators at Goskino and in Party offices at various levels. Panfilov was, unlike most younger artists at Lenfilm, a member of the Party and valued his parents’ Communist principles. The argument of some post-Soviet commentators—that May I Speak? represents a veiled attack upon its protagonist, Elizaveta Uvarova—is difficult to sustain. Yet Uvarova remains an ambiguous figure, and the treatment of her is enigmatic, not least in terms of gender identities, as the discussion here shows.
Cast a Cold Eye
Authors: Kelly Catriona 
Published: July 2021

Abstract
Boris Frumin was perhaps Lenfilm’s most obstinate younger director when it came to the editorial and vetting process, and in the case of The Errors of Youth (1978), the result was a major conflict both with the studio and with Goskino. What appeared to be a harmless script by Eduard Topol turned into a film that resembles a Soviet version of Lindsay Anderson’s O Lucky Man! Frumin’s movie provoked outrage, during vetting, with a whole range of bureaucracies, including the army, the Party, and Goskino. After the tragic death of Stanislav Zhdanko, the film’s lead actor, and the emigration from the USSR of Topol, and then Frumin himself, the movie was abandoned before completion and shelved. It was later to become a hit of the perestroika era. This chapter examines the vicissitudes that beset Frumin’s project, many of them related to the insolently detached demeanor of the movie’s hero.
Socialist Embarrassment
Authors: Kelly Catriona 
Published: July 2021

Abstract
Viktor Tregubovich’s first movie, A Hot July, nearly wrecked his career at the outset, because it was a de-Stalinizing project begun mere months before the deposition of Khrushchev. Released after extensive production delays, the film had been reduced to mere tatters of the original endeavor. But Tregubovich rehabilitated himself with his gentle and offbeat movie about a tank battalion in combat, War Is War, and a series of remarkably diverse projects followed. Go If You’re Going provoked surprise at Lenfilm because it was a film comedy, and thus, his colleagues believed, a departure from Tregubovich’s established style. The laughter it provoked was decidedly uncomfortable, a point remarked (without enthusiasm) in studio discussions. Released after a significant delay, it became the subject of critical comment in a 1979 article by the deputy chairman of Goskino, Boris Pavlenok. Go If You’re Going is perhaps the nearest Lenfilm movie to the socialist “new wave” traditions of directors such as Jan Němec, a tribute to a filmmaking style that had resurfaced after nearly a decade in the cold.
The Power of Irony
Authors: Kelly Catriona 
Published: July 2021

Abstract
The 1970s saw a mass exodus of younger, artistically ambitious directors from moviemaking for the big screen into TV. Among the beneficiaries of the new medium was Igor Maslennikov, who had struggled to establish himself as more than “promising.” Maslennikov’s TV adaptations of Sherlock Holmes rapidly made him one of the most famous filmmakers in the USSR. The main subject of this chapter, however, is an adaptation for “quality TV” of a different kind, The Queen of Spades, by Russia’s most famous writer, Alexander Pushkin. Where Maslennikov’s Conan Doyle adaptations were studiedly casual (The Hound of the Baskervilles is an exercise in playful eccentricity rather than a plunge into Victorian Gothic), his reworking of Pushkin went precisely in the other direction. This “hyperauthentic” interpretation of the Russian author sought to retain “every last comma” in the original, right down to scene-setting commentaries presented by an on-screen narrator. As this chapter argues, had it not been for the exceptionally vexed history of attempts to film The Queen of Spades (Maslennikov was the fourth director selected to make the movie), his “hyperauthentic” approach might have proved more controversial. Whichever way, the adaptation more closely resembles late modernist films of the era such as Eric Rohmer’s The Marquise of O than the conventional literary adaptations of the later Soviet era, which came from a tradition where reconstructing the source text was the accepted norm.
The Taliban Offensives of 2015 and 201620152016
Authors: Malkasian Carter 
Published: July 2021

Abstract
Chapter Eighteen, “The Taliban Offensives of 2015 and 2016,” examines the Taliban attacks on Kunduz and Helmand in 2015 and 2016 and the difficulties encountered by the Afghan army and police. The government faced some of the biggest Taliban offensives of the war largely on their own. The result brought about a verdict on the whole US war effort.
Inventing the Recording
Authors: Moreda Rodríguez Eva 
Published: July 2021

Abstract
Inventing the Recording: The Phonograph and National Culture in Spain, 1877–1914 focuses on the decades in which the recording went from technological possibility to commercial and cultural artifact, and it does so through the analysis of a specific and unique national context: Spain. It tells the stories of institutions and individuals in the country, discusses the development of discourses and ideas in close connection with national concerns and debates, and pays close attention to original recordings from this era. The book starts with the arrival in Spain of notices about Edison’s invention of the phonograph in 1877, followed by the first demonstrations (1878–1882) at the hands of scientists and showmen. These demonstrations greatly stimulated the imagination of scientists, journalists, and playwrights, who spent the rest of the 1880s speculating about the phonograph and its potential to revolutionize society once it was properly developed and marketed. The book then moves on to analyze the “traveling phonographs” and salones fonográficos of the 1890s and early 1900s, with phonographs being paraded around Spain and exhibited in group listening sessions in theaters, private homes, and social spaces pertaining to different social classes. It finally covers the development of an indigenous recording industry dominated by the so-called gabinetes fonográficos: small businesses that sold imported phonographs, produced their own recordings, and shaped early discourses about commercial phonography and the record as a commodity between 1896 and 1905.
Traveling phonographs, 1888–1900
Authors: Moreda Rodríguez Eva 
Published: July 2021

Abstract
This chapter discusses the arrival of Edison’s Perfected Phonograph (introduced in 1888) in Spain. Thanks to the improvements in the technology, numerous Spanish funfair impresarios and entertainers acquired devices that they exhibited and demonstrated in front of audiences. The chapter discusses three main issues: firstly, the travels of phonograph demonstrators throughout Spain and how these were informed by and in turn informed discourses about technology, mobility, and modernization; second, the types of sociability spaces in which phonographs were exhibited and how these reveal the different ways in which different social classes engaged with science; and finally, the formats that phonograph demonstrations adopted, which emphasized the phonograph’s capabilities of reproducing sounds familiar to the audience.
Gabinetes fonográficos in Valencia, 1899–1901Valencia, 1899
Authors: Moreda Rodríguez Eva 
Published: July 2021

Abstract
This chapter focuses on the gabinetes fonográficos active between 1899 and 1901 in Valencia—which can be rightly considered as the second main pole of the Spanish recording industry at the time. It discusses the rivalries that Valencia gabinetes maintained with their Madrid counterparts, and analyses how the compactness and connectedness of the city gave rise to a vibrant, yet ephemeral, recording culture. The chapter also discusses briefly the gabinetes located in cities other than Madrid, Valencia, and Barcelona, of which few traces have survived.
Consuming and collecting records in Spain, 1896–1905
Authors: Moreda Rodríguez Eva 
Published: July 2021

Abstract
This chapter draws upon the five major surviving collections of Spanish early recordings in order to attempt to reconstruct who bought wax cylinders in Spain around 1900, what their motivations were and what their listening and collecting practices looked like. It discusses how record buyers were still a small, privileged minority in Spain at the time, and examines how collecting might have helped developed ways of listening focused on music appreciation rather than on purely replicating a collector’s live music experience. It also analyzes home recording practices, which were a significant part of phonograph marketing strategies at this time.
Conclusion: From national to global
Authors: Moreda Rodríguez Eva 
Published: July 2021

Abstract
The conclusion sums up how the cultural history of the phonograph in Spain can prompt a re-examination of the global history of early recording technologies, and lists four areas in which this re-examination might be particularly necessary. Firstly, the role of Edison, his companies, and other recording multinationals in crafting and spreading the idea of the recording as a concept and setting the foundations of the recording industry might need to be further re-evaluated and contextualized. Secondly, increased attention needs to be paid to the national and local characteristics that impinged discourses around modernity in the period at hand. Thirdly, the early history of recording technologies needs to be read as a history of possibilities, shaped by national, regional, and local cultural specificities. Fourthly, greater awareness should develop of how indigenous repertoires contributed to shaping recording practices and ontologies of recording technologies in particular ways, rather than recording technologies being used to passively record what was already there.
Problems in Cognitive Media Ethics
Authors: Moss-Wellington Wyatt 
Published: July 2021

Abstract
This chapter surveys key problems emerging at the intersection of cognitive science and media ethics, and further refines a hermeneutic approach that will account for each dilemma. Problems discussed include the moral policing of fictive thought experiments rather than actions taken in the world, the confounding heteronomies of cultural and personality variation, issues of selfhood and determinism, and confusions between the ethical and the political. This chapter explains how each problem will be navigated over ensuing chapters, presenting a union of theories in autobiographical memory, social cognition, and textual hermeneutics as a model for unearthing the lived impact—and therefore the ethics—of narrative media and storytelling.
Moral and Cognitive Dissonance in Cinema
Authors: Moss-Wellington Wyatt 
Published: July 2021

Abstract
Cognitive dissonance provides a model for understanding how we experience film texts as profound. This chapter looks at the ways in which filmmakers might motivate or exploit the pleasure of resolving familiar narrative dissonance to inspire emotions associated with profundity, sublimity, or transcendence. David Lynch scholarship is presented as a primary case study in the conflation of cognitive dissonance and transcendence; however, it is contended that moral obligations to rape and trauma victims are sublimated in the process. Alternative moral dissonances across a range of cinematic modes are subsequently addressed. Comparative analysis of vigilantism in American revenge and “social cleansing” films, Ken Loach’s social realism, and John Sayles’s Lone Star (1996) permits an exploration of variability in filmic dissonance and narrative comprehension, as well as alternative approaches to filmmaking ethics and responsibility. The chapter concludes with suggestions for an applied ethics extended from theories of cognitive dissonance.
The Emotional Politics of Limerence in Romantic Comedy Films
Authors: Moss-Wellington Wyatt 
Published: July 2021

Abstract
“Limerence” describes the intensity of emotions often felt during the pair-forming stage of a romantic relationship, a period that is also the primary focus of many romantic comedy films. This chapter asks how filmmakers have used depictions of limerence to highlight spaces in which its potential for both disruption and loving care could be brought to political spheres. I look at a series of millennial romantic comedies that express emotional upheaval, vulnerability, and openness to change as qualities of relevance to both a romantic and a political selfhood. These “political romcoms” reveal a range of dynamic relations between notions of character competence, moral fiber, personality, and deservedness, and invite investigation of complex emotions that modify a more generalized positive affect associated with romantic comedy cinema: humiliation as a comic device and the existential fear of rejection.
Enthymemes Online
Authors: Moss-Wellington Wyatt 
Published: July 2021

Abstract
The final chapter addresses current issues in news and social media, as well as the tandem problems of public trust in journalism, democratic institutions, and everyday personal communications inaugurated by digital media’s proliferating resources for fabrication and obfuscation. After introducing a cognitive-rhetorical model for identifying promotional enthymemes online, this chapter carefully considers the ways in which media criticism is taught in higher education; it questions traditional methods of interrogation and deconstruction that individualize the ethics of media engagement and have the potential to breed further mistrust within already trust-poor cultures. Alternative modes of analysis are considered for their pedagogical merits, including the uses of postcritique and surface readings of media texts. Ultimately, I make the case that there is an imperative to guide a hopeful, forward-looking, normative search for solutions in our classrooms, in addition to describing the political problems we currently confront. The alternative is to prescribe a disempowering culture of suspicion for the next generation, who will be the inheritors of a fraught media ecology that scholars continue to document as it unfolds.
Introduction
Authors: Stockdale Katie 
Published: July 2021

Abstract
This chapter introduces the motivation for the book, the methodology, and the arguments of Hope Under Oppression. It offers an overview of the emerging interest in the nature and value of hope in philosophy, and it also explains how the author came to the subject of hope from feminist approaches to moral, social, and political thought. Feminist philosophy helps to reveal the nature and scope of complex and overlapping systems of privilege and oppression, and in doing so, it can give rise to questions about hope. A feminist approach to moral psychology enables reflection on how hope is experienced and valued by people who live under oppression, offering new conceptual resources for understanding the nature, value, and risks of hope in human life.
Image in the Making
Authors: Thomson-Jones Katherine 
Published: July 2021

Abstract
Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.
The Origins of Uncontested Adjudication
Authors: Pfander James E. 
Published: July 2021

Abstract
This brief chapter explores the origins of non-contentious or voluntary jurisdiction, tracing its appearance in Roman law and its incorporation into the practice of civil law systems of Europe. After examining uncontested adjudication in England, this chapter tracks its arrival in British North America. Building on English forms that were themselves rooted in civil law, colonial courts in North America used uncontested process to handle such familiar matters as the probate of decedents’ estates and the exercise of equity and admiralty jurisdiction.
The Nineteenth-Century Perspective on Federal Judicial Power
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter examines the way nineteenth-century jurists defined the words “cases” and “controversies” in Article III of the U.S. Constitution. It shows that federal courts agreed to hear uncontested applications to claim rights under federal law as “cases” under Article III. But the same courts refused to hear matters governed by state law unless they arose between opposing parties as “controversies” within Article III. This distinction between cases and controversies meant that a claim of right by a petitioner, such as that in a naturalization petition, would qualify as a case, even though the plaintiff did not join an adverse party from whom the plaintiff sought redress.
The New Adverse-Party Rule Confronts Judicial Practice
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter describes the conflicts that arose as the new case-or-controversy requirement came to be seen as in conflict with the broad range of uncontested proceedings that had formed a traditional part of nineteenth-century federal practice. Courts, scholars, and litigants have questioned the power of federal courts to hear bankruptcy proceedings, petitions for naturalized citizenship, applications to approve testimonial immunity, warrant proceedings, petitions for habeas corpus relief, and a range of other matters. So far, at least, the U.S. Supreme Court has been reluctant to deploy its case-or-controversy rule to upset established forms of proceeding.
Toward a Constructive Constitutional History
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter explores the lessons for the theory of constitutional adjudication that emerge from this book’s account of the meaning of cases and controversies in Article III. Proposing a constructive or synthetic approach to constitutional interpretation, the chapter urges the U.S. Supreme Court to substitute a litigable interest standard for the modern case-or-controversy rule. Such an approach would enable the Court to uphold the right of individuals to pursue uncontested claims as authorized by Congress and to continue to insist on adversary presentations in the disputes that parties present to federal court for resolution. The constructive approach advocated here differs from the position sometimes advanced by originalists in that it seeks to accommodate the lessons of the eighteenth, nineteenth, and twentieth centuries in formulating a measure of the limits of judicial power.