bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sharing Research Amidst the Cat Videos and Clickbait
Authors: Toff Benjamin 
Published: July 2021

Abstract
This chapter makes the case that the task of engagement for journalism researchers is far more challenging than is typically appreciated. Even provocative research findings must ruthlessly compete for the attention of highly distracted audiences. This chapter outlines results from a small study examining relative rates of social media interactions (e.g., comments, shares, and likes) on Facebook posts made by three organizations that seek to bridge the divide between academia and professional communities of practice—the Columbia Journalism Review, Nieman Journalism Lab, and the Poynter Institute. Analysis of what posts do (and do not) receive attention show that although some scholarly research attracts engagement, it pales in comparison to other posts circulated by these same organizations. The findings suggest that translating research in the contemporary media environment requires more innovative and proactive outreach strategies.
Why News Literacy Matters
Authors: Tully Melissa 
Published: July 2021

Abstract
News literacy efforts address news content, production, consumption, and contexts to holistically explore the role of news in society, with a particular focus on the importance of news for informing self-governing citizens. Although news literacy is not a cure-all, it should be part of a broader solution to developing a media system that provides audiences with news and information that is relevant to their lives. With this in mind, we, as researchers, educators, practitioners, and professionals, need to think about how to teach news literacy and encourage its application. Research and practice should strive to improve news literacy, increase confidence in individuals’ abilities, and convince audiences that news literacy is applicable to their lives.
Introduction: The Art House in Space and Time
Authors: Kelly Catriona 
Published: July 2021

Abstract
The context for Lenfilm’s productions in the Brezhnev era was shaped by both spatial and temporal factors. The studio, one of Leningrad’s most important enterprises and sites of cultural production, occupied a commanding position in the city center, and the mixture of imposing newbuild at the front and tumbledown yards behind lent it a character that was quite different from the USSR’s newer, homogeneous studio territories, such as Mosfilm and Kazakhfilm. Leningrad also had a specific character as a city with a highly developed artistic underground. However, filmmakers were employees of the state, and some degree of conformity was essential. Thus, the shift from the overt political mobilization of the Khrushchev era to the “inclusionary politics” of consensus that was requisite under Brezhnev had a significant impact upon the young filmmakers who joined Lenfilm from the 1960s onward. Yet, this should not be seen, as it often has been, in terms of “calcification” and loss of artistic integrity: the characteristic energy and optimism of the “Thaw” years were not necessarily the preferred emotional tone of all younger directors. Lenfilm is distinct from some Soviet studios precisely because its most creative time was from the late 1960s onward, rather than in the late 1950s and early 1960s, though adverse comparison with the 1930s, the so-called golden age of Chapaev, The Maxim Trilogy, and Member of the Government, still persisted when films were reviewed in the studio and beyond.
“Serious” Cinema and the Box Office
Authors: Kelly Catriona 
Published: July 2021

Abstract
Ideological pressure continued to bedevil film editing and production in the 1970s. This decade saw increasing financial pressure and an emphasis on budgetary control. A scandal about Aleksei German’s Operation “New Year” was related to the film’s representation of the “Great Patriotic War,” but also to the failure to comply with production targets. The fuss led to the sacking of Ilya Kiselev and the appointment of Communist Party apparatchik Viktor Blinov. Yet Blinov continued to subscribe to Lenfilm’s core values of artistic quality and respect for talent, with the result that conflicts with regulatory bodies persisted. This was exacerbated by the policies of Leningrad’s Party leader, Grigory Romanov, who kept the studio’s activities under tight scrutiny. In 1978, Blinov was dismissed. The next appointment as general director was Vasily Provotorov, and most of his short tenure of office was occupied with issues of work discipline, with the liveliest work done for TV rather than the big screen. But under his successor, Vitaly Aksenov, filmmakers had the opposite problem of autocratic control that paid little heed to the studio’s artistic ethos. The main development of Aksenov’s time as director, which ended after only three years, was a successful line in blockbuster romantic comedies, such as Vladimir Bortko’s The Blonde from around the Corner and Igor Maslennikov’s Winter Cherries. Otherwise, signs of discontent and malaise became ever stronger. The studio entered the Gorbachev years in a diminished condition, having sacrificed the artistic prestige that reached its heights in the mid-1970s.
Nonexistent Reality
Authors: Kelly Catriona 
Published: July 2021

Abstract
This chapter explores the understanding of “film art” that prevailed at Lenfilm during the last three decades of the Soviet Union’s existence. It was unusual for filmmakers at this period to produce manifestos or detailed discussions of their own artistic practices, but the studio discussions over nearly thirty years allow conclusions to be drawn about overall aesthetic aims. Though the term “socialist realism” was used seriously only by official figures from the film management and Communist Party worlds, filmmakers were deeply concerned with the representation of lived reality, even if they argued that reality should be refracted in ways that challenged the viewer’s interpretation and assailed accepted convention. As Joseph Heifitz put it, this was “socialist neorealism” rather than anything resembling the epic representations of the 1930s. For Bella Manevich, one of the studio’s leading designers, a striking example of an entirely convincing film was Roman Polanski’s Rosemary’s Baby, despite or because of the fact that the film was set in its own idiosyncratic world. Most characteristic of Lenfilm, though, was not the avant-garde excursion into alternative realities, but a kind of willed poverty that was carefully evoked and emulated also in a film of great significance for the era, Ilya Averbakh’s The Voice, about a dying actress who is working on the voice-over of her last film.
The Indifference of Time
Authors: Kelly Catriona 
Published: July 2021

Abstract
Gennady Shpalikov’s A Long Happy Life (1967) was pitched to Lenfilm as a movie about a young woman in a factory job. The eventual result was very different, focusing as it did on two people who meet by chance and whose relationship lasts just one day. This chapter examines the reception in the studio (where the movie puzzled its viewers, but Shpalikov, who already had a noted career as a scriptwriter, was permitted a great deal of freedom), and beyond. While A Long Happy Life had positive as well as negative coverage in the Soviet press, an attack in Pravda during the “Czechoslovak crisis” of 1968 sealed its fate, though since the late 1980s, the film has been considered one of the most important movies of its time. The chapter explores the paradoxical responses provoked by the transfer of personal material from Shpalikov’s biography, lyric poetry, and songs to the big screen, and especially the curiously affectless nature of the couple’s relationship, captured by its Soviet viewers in the disapproving word “indifference.”
Regulated Immediacy
Authors: Kelly Catriona 
Published: July 2021

Abstract
This chapter explores the work of Viktor Sokolov, a much-admired director at Lenfilm whose extensive work in genre films (production dramas, sports films, literary adaptations) made him relatively invisible to the critical establishment of his own day and later. Sokolov’s combination of emotional surges and a precise and critical eye for cinematic patterning made him difficult to classify at any time, and never more so than in A Day of Sunshine and Rain (1967), an unusual children’s film that explores the unexpected and fragile friendship of two young boys who have skipped school, but also the nature and purpose of art.
Cold War Fears
Authors: Kelly Catriona 
Published: July 2021

Abstract
This chapter explores the production and reception history of a notable Cold War Soviet thriller, The Dead Season, directed by Savva Kulish, a former cameraman and collaborator of Mikhail Romm and Maiya Turovskaya on a famous documentary about life in the Third Reich, Ordinary Fascism. Kulish’s background and his own Jewish descent prompted him to adopt a highly serious approach to the story of a former Nazi war criminal who is now resident in “a certain Western country.” Rather than an exciting adventure story, the film became an exploration of psychological tension, as the discussion here makes clear.
Spontaneous Music
Authors: Kelly Catriona 
Published: July 2021

Abstract
The discussion here is focused on Dinara Asanova, an unusual figure at Lenfilm not just because of her Kirghiz background (she was one of only two Central Asian directors at the studio), but because of her commitment to using improvisation, a considerable feat given that the entire system of Soviet control assumed scripts would be filmed verbatim. As the chapter contends, the license allowed to Asanova was at least partly dependent upon the categorization of her as a specialist in “children’s films,” which acted as a convenient way of trivializing her activities. The film at the center of analysis here, Woodpeckers Don’t Get Headaches, is examined as a particularly revealing manifestation of Asanova’s aesthetic principles because its protagonist, the young jazz enthusiast Mukha, has autobiographical echoes and because the spontaneity of his performances and the compositional manner of the film are in obvious association.
Private Grief, Public Mourning
Authors: Kelly Catriona 
Published: July 2021

Abstract
Sergei Mikaelyan’s Widows (1976) is a highly unusual war movie because of its focus on civilians and on “postmemory,” the retrospective experience of the aftermath of conflict. Two elderly women campaign against the removal of the remains of two soldiers whom they found in a nearby field during the Great Patriotic War, and the publicity then inspires many people bereaved during the conflict to claim the remains as “theirs.” The chapter traces the origins of the story in a 1970 newspaper article and its slow transition to the big screen, not helped by assessors in the studio and at Goskino who found the material “tasteless.” As the analysis shows, the film raised uncomfortable questions about the significance of war memory in a new and changed society; Widows was to remain an admired movie that never quite made it into the canon.
Ludic Love
Authors: Kelly Catriona 
Published: July 2021

Abstract
This chapter discusses the single movie made at Lenfilm by one of the USSR’s most important avant-garde directors, Kira Muratova. As she worked on the script, Muratova transformed a mild and sweet story about a pretty young factory worker, Lyuba, who was in love with two men at once, into a philosophical meditation on love. Yet any aspirations to deep thinking were constantly called into question by the playful nature of the representation. Music-hall effects, comedy repetition, and parodic echoes of Stalin-era official films jostle film noir and citations from new wave. Reactions at Lenfilm were wary, and the collaboration with Muratova ended at one film. But Getting to Know the Wide World remained Muratova’s favorite film even at the end of her life; though she resented the criticism that she got at Lenfilm, the frustration that it generated turned out to be creative.
The American War in Afghanistan
Authors: Malkasian Carter 
Published: July 2021

Abstract
The American War in Afghanistan is a full history of the war in Afghanistan between 2001 and 2020. It covers political, cultural, strategic, and tactical aspects of the war and details the actions and decision-making of the United States, Afghan government, and Taliban. The work follows a narrative format to go through the 2001 US invasion, the state-building of 2002–2005, the Taliban offensive of 2006, the US surge of 2009–2011, the subsequent drawdown, and the peace talks of 2019–2020. The focus is on the overarching questions of the war: Why did the United States fail? What opportunities existed to reach a better outcome? Why did the United States not withdraw from the war?
Cognitive Film and Media Ethics
Authors: Moss-Wellington Wyatt 
Published: July 2021

Abstract
Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television, and screen media ethics. This book extends prior works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigor, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive Film and Media Ethics presents the rigors of normative reasoning, cognitive science, and consequentialist ethics as complementary, arguing that each seeks progressive elaboration on its own models of causality, and causal projections are crucial for any reflection on our moral responsibilities in the world. A hermeneutics of “ethical cognitivism” is applied in the latter half of the book, with each essay addressing a different case study in film, television, news, and social media: cinema that sets out to inspire moral dissonance in the viewer, satirical and humorous depictions of family drama in film and television, the politics of the romantic comedy, formal aspects of screen media bullying in an era dubbed the “television renaissance,” and contemporary problems in the conflation of news and social media. Cognitive Film and Media Ethics synthesizes current research in social psychology, anthropology, memory studies, emotion and cognition, personality and media selection, and evolutionary biology, integrating wide-ranging concepts from the various disciplines that make up cognitive theory to provide new vantages on the applied ethics of film and screen media.
Newton and Spinoza
Authors: Schliesser Eric 
Published: July 2021

AbstractThis chapter investigates several arguments against Spinoza’s philosophy that were developed by Henry More, Samuel Clarke, and Colin Maclaurin. In the arguments More, Clarke, and Maclaurin aim to establish the existence of an immaterial and intelligent God precisely by showing that Spinoza does not have the resources to adequately explain the origin of motion. Attending to these criticisms grants us a deeper appreciation for how the authority derived from the empirical success of Newton's enterprise was used to settle debates within philosophy. The arguments by More and Clarke especially help to discern the anti‐Spinozism that can be detected in Newton's General Scholium (1713). Ultimately, the Newtonian criticisms of Spinoza offer us a more nuanced view of the problems that plague Spinoza's philosophy, and they also challenge the idea that Spinoza seamlessly fits into a progressive narrative about the scientific revolution.
Cases Without Controversies
Authors: Pfander James E. 
Published: July 2021

Abstract
Cases Without Controversies: Uncontested Adjudication in Article III Courts offers a new account of the power of federal courts in the United States to hear and determine uncontested applications to assert or register a claim of right. Familiar to lawyers in civil law countries as forms of voluntary or non-contentious jurisdiction, these uncontested applications fit uneasily with the commitment to adversary legalism in the United States. Indeed, modern accounts of federal judicial power often urge that the language of Article III of the U.S. Constitution limits federal courts to the adjudication of concrete disputes between adverse parties and rules out all forms of non-contentious jurisdiction. Said to rest on the so-called “case-or-controversy” requirement of Article III, this requirement of party contestation threatens the power of federal courts to conduct a range of familiar proceedings, such as the oversight of bankruptcy proceedings, the issuance of warrants, and the adjudication of applications for mandamus and habeas corpus relief. By recounting the tradition of naturalization and other uncontested litigation in antebellum America and coupling that tradition with an account of the important difference between cases and controversies, this book challenges the prevailing understanding of Article III. In addition to defending the power of federal courts to hear uncontested matters of federal law, this book examines the way the Constitution’s meaning has changed over time and suggests an interpretive methodology that would allow the U.S. Supreme Court to take account of the old and the new in defining the contours of federal judicial power.
Introduction
Authors: Pfander James E. 
Published: July 2021

Abstract
This book’s introduction poses the problem of uncontested adjudication in the federal court system of the United States by focusing on the 2013 decision in United States v. Windsor. While in that case, the Supreme Court reached the merits despite the absence of a continuing dispute between the parties, Justice Antonin Scalia objected that doing so violated the adverse-party requirement, which he viewed as a constitutional requirement imposed by the case-or-controversy language of Article III. In arguing that federal courts may not entertain uncontested claims of right, Scalia’s dissent in Windsor nicely poses the question at the heart of this book. But the book reaches a different conclusion, based on the text and history of the Constitution, and the early practice of Article III courts. Having set the stage, the introduction offers an overview of the book’s argument. Part I describes the early practice of the antebellum federal courts, Part II the rise of the case-or-controversy rule in the early twentieth century, and Part III the continuing relevance of uncontested forms of adjudication. Synthesizing these strands, the book concludes that Article III courts can entertain proceedings to hear and determine uncontested applications to assert or register a claim of right under federal law.
Uncontested Proceedings on Federal Dockets in the Early Republic
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter describes the forms of uncontested adjudication that appeared on the dockets of the federal courts in the early Republic. Prominent among these examples was the practice of petitioning on an ex parte basis for a grant of naturalized citizenship under a law the First Congress adopted in 1790 to assign such work to the federal courts. Other examples include warrant proceedings, prize and salvage litigation in the federal admiralty courts, and veterans’ pension claims. Federal courts in the period agreed to entertain such proceedings as proper subjects of Article III adjudication and treated the resulting judgments as final and binding determinations of the right in question. There was no suggestion that the case-or-controversy language, or anything else in Article III, foreclosed such adjudications.
The Progressive Response to Lochner: Limiting Justiciability
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter explains how the case-or-controversy requirement evolved in the decisional law of the federal courts in the first few decades of the twentieth century. Focusing on the views of Justices Louis Brandeis and Felix Frankfurter, the chapter details the way those jurists deployed the case-or-controversy rule to limit the power of federal courts to review and invalidate progressive legislation adopted to regulate the private sector. The chapter also describes resistance to the progressive program by scholars seeking to defend a role for the federal courts in issuing declaratory judgments.
Uncontested Adjudication and the Modern Case-or-Controversy Rule
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter explains how the nineteenth-century history of uncontested litigation undercuts the modern case-or-controversy rule as developed and applied in the twentieth century. That the antebellum federal courts were empowered to hear petitions for naturalized citizenship and other uncontested claims as cases under Article III undermines three key elements of the modern case-or-controversy rule: its suggestion that all plaintiffs invoking the judicial power must establish standing by identifying an injury in fact; its requirement that only claims that name an adverse party can be brought in federal court; and its linkage of cases and controversies, two distinct ideas, in an all-purpose case-or-controversy requirement.
A Practical Guide to Uncontested Adjudication
Authors: Pfander James E. 
Published: July 2021

Abstract
This chapter provides a primer on best practices in uncontested adjudication. Drawing lessons from the antebellum experience, the chapter reiterates the idea that important constitutional limits on federal adjudication—including the judicial finality requirement in Article III and the due process requirement of fair notice—fully apply to uncontested matters. The chapter further explains the importance of the judicial role in ensuring full development of the factual record in uncontested proceedings. The chapter explains how federal courts might best handle the uncontested adjudication of prisoner petitions through closer attention to the best practices outlined here. It concludes with a discussion of the federal judicial role in probate and domestic relations matters.
History and Theology of Call
Authors: Giver-Johnston Donna 
Published: July 2021

Abstract
Chapter 2 examines the scriptural text through word definition and interpretation and traces the concept of call throughout, with attention to nuances of meaning. Next, this chapter explores the theological tradition of how call has been interpreted and articulated from the time of Jesus to the nineteenth century, in theological doctrines of call and vocation and in ecclesial practice and social convention. By identifying theological themes of call throughout Church history—from “sacrifice” in the Early Church to “monasticism” in the Middle Ages, from “priesthood of all believers” during the Protestant Reformation to “spiritual revelation” and “extraordinary call” of the Revival–Social Gospel era—this chapter traces the development of the institutionalized call from inclusive to more exclusive of women preachers. Then, in the rhetorical and homiletical witness of the church, this chapter uncovers how a prejudiced trope has restricted women’s call and place in the pulpit. And, finally, it reveals how women utilized rhetorical techniques and tactics in order to challenge convention and claim their call to preach.