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hungry for a more concrete prescription, it is fully in keeping with the book’s tone. Ultimately, House of My Sojourn is an uneven read. From my perspective, the case studies*in particular those in chapters three and four*make the clearest and most useful contributions to the study of women’s rhetoric. Sutton is more adept at explicating the barriers to women’s authoritative rhetorical practice than at offering an innovative way to overcome them, despite her vow to rebuild the house of rhetoric. The fanciful comparisons, imagined scenarios, and sometimes vexing vocabulary can be off-putting, but the style is clearly part of the point of the exercise. Sutton wants to envision a future that can transcend the problems of the past, and she takes a great deal of rhetorical license to do so. The result, always erudite, is often enlightening and occasionally perplexing, but it is never dull.

About to Die: How News Images Move the Public

The Essence of Truth

Support for presidential candidate Donald Trump increased in the aftermath of the 2015 terrorist attacks in Paris, France, and San Bernardino, California, similar to Americans’ greater enthusiasm for President George W. Bush after the September 11, 2001 terrorist attacks on the Pentagon and World Trade Center. According to terror management theory (Greenberg, Pyszczynski, & Solomon; Solomon, Greenberg, & Pyszczynski), people are prone to embrace charismatic politicians in times of historical upheaval to mitigate existential terror. Consistent with this view, previous research has demonstrated that reminders of death (relative to an aversive control condition) increased support for a charismatic leader in a hypothetical gubernatorial election, and support for President Bush and his policies in Iraq prior to the 2004 presidential election. The present Study 1 hypothesized and found that a death reminder increased support for Donald Trump. Study 2 found that while Hillary Clinton was viewed more favorably than Donald Trump in an aversive control condition, Mr. Trump was viewed more favorably in response to a death reminder while impressions of Mrs. Clinton were unaffected. Study 3 demonstrated that asking people to think about immigrants moving into their neighborhood increased the accessibility of implicit death thoughts. These findings suggest that electoral outcomes and public policy can be affected when existential concerns are aroused.

You're Hired! Mortality Salience Increases Americans’ Support for Donald Trump

Fright, attention, and joy while killing zombies in Virtual Reality: A psychophysiological analysis of VR user experience

Streaming services have significantly changed the way that films and TV series are produced and received. The full effects of these changes have yet to be seen, but this article offers an inquiry and critical analysis of some of these changes as they pertain to stand-alone and serial documentaries produced by Netflix. This article contends that there is an emergent "house style" for Netflix original content, particularly documentary, that is in part dictated by platform constraints, but also by an adherence to the principles of Slow Media. To demonstrate, I observe a couple of key moments episodes of Chef's Table (2015-) and Shot in the Dark (2017-), as well as the feature-length documentary The Ivory Game (2016). The findings of the article suggest that the consumption of on-demand content - and more specifically its being chosen by the viewer, rather than observed in the flow of network-era television - affords producers certain concessions around the choices they make. In the examples discussed, there is a clear focus on quality and high production values, bringing Netflix-produced content in line with the tenets of the Slow Media movement.

The Netflix documentary house style: Streaming TV and slow media

In that it privileges the grand perspective (the landscape, and the battalion arrayed in all its splendour), The Longest Day (1962) is typical of big-picture World War II films produced up until the mid-1970s. There are few close-ups, and takes are ponderously long. The focus is on grand strategy, and an attendant grand narrative; the lens offers a blow-by-blow assessment of the massive assault. Shot in 1998, Saving Private Ryan periodically echoes this perspective but reflects modalities informed by changing technologies and a hyper-mediated culture. The result is more intimate framing, punctuated by shots sometimes adapted from the source material: footage captured on Omaha Beach, 6 June 1944, by the Signal Corps cameramen. This portrayal serves two purposes: it opens the film in spectacular fashion, introduces the main characters and prefaces their mission. This article identifies and examines filmic frames from the day of the landings; from the grand narrative of The Longest Day; and from Spielberg's confronting representation Saving Private Ryan. The aim is to show how, through the lens alone, cinematographers approximate the character of a tumultuous and terrifying day in ways that are surprisingly similar and profoundly different.

Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan

Combining action, violence, and deeply conflicted emotions, war has always been a topic made for the big screen. In The Hollywood War Film, Daniel Binns considers how war has been depicted throughout the history of cinema. Looking at depictions of both world wars, the Vietnam War, and the major conflicts in the Middle East, Binns reflects on representations of war and conflict, revealing how Hollywood has made the war film more than just a genre, but a dynamic cultural phenomenon. Looking closely at films such as All Quiet on the Western Front, Full Metal Jacket, and The Hurt Locker, Binns reveals the commonalities in Hollywood films despite the distinct conflicts and eras they represent, and he shows how contemporary war films closely echo earlier films in their nationalistic and idealistic depictions. Offering a trenchant analysis of some of the most important war films from the past century, this book will be of interest to anyone who has been captivated by how film has dealt with one of humanity's most difficult, but far too common, realities.

The Hollywood War Film: Critical Observations from World War I to Iraq

No Free Tickets

This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner's biopic Patton (1970) and Jack Smight's epic Midway (1976). In these films, maps, charts, or tableaux (the three-dimensional models upon which are plotted the movements of battalions, fleets, and so on) emerge as an expression of both martial and cinematic strategy. It is argued that the battle-map emerges as a crucial isomorphic element. It features as a prop to signify command and to relay otherwise complex strategic plottings, giving audiences a glimpse into how military strategy is formed and tested: a traditional 'reading' of the map. Conversely, the map is a device of foreshadowing and a sign of command's profound limitations. It is thus resolved that the battle-map is as much a sign of the subjective as the objective.

Daniel Binns

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The Netflix documentary house style: Streaming TV and slow media

Re-viewing D-Day: The cinematography of the Normandy landings from the Signal Corps to Saving Private Ryan

The Hollywood War Film: Critical Observations from World War I to Iraq

No Free Tickets

The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)