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| Introduction | |
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| Buying into Social Class | |
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| Introduction | |
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| "The only place to go is inside": Confusions about Sexuality and Class from Kids to Superbad | |
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| "What's a smart boy like you doing in a class like this?": Intelligence and Class in Good Will Hunting | |
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| Fashion, Advertising, and the Consumer Society | |
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| The Public Mind and the Pictures in Our Heads: A Riff | |
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| "American Idol� atry: The Practice of Democracy in the Age of Reality Television | |
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| The Genders of Popular Culture | |
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| Introduction | |
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| From "Ellen" to Bruno: The Love That Dared Not Speak Its Name Goes Big | |
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| Girl Meets Boy: Romantic Comedies After Feminism | |
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| This Is for Fighting, This Is for Fun: Camerawork and Gunplay in Reality-Based Crime Shows | |
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| The Completely Accessible Star Persona of Mr. Keanu Reeves | |
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| Gus Van Sant's History of Homosexuality | |
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| Virtually Getting It On: "Sex" in Film and Television Narratives, 1992-2010 | |
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| Race for the Screen | |
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| Introduction | |
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| "I felt like, 'This guy's really hurting me.' And it hurt.": Funny Men in Pain from Zoolander to Anchorman | |
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| "Get your mind right": Juvenile Renewed | |
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| "We're all quite small, really": Races, Classes, Globalisms in "Heroes" | |
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| On Seeing and Not Seeing Race: Crash and the Politics of Bad Faith | |
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| Screened Ideologies | |
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| Introduction | |
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| Beautiful Ever After: "Extreme Makeover" and the Magical, Mythical Spectacle of Rebirth | |
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| They Sing the Body Ecstatic: Television Commercials and Captured Music | |
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| Aliens Amok: Men in Black Policing Subjectivity Onscreen | |
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| The Wonderful, Horrible Films of Paul Verhoeven | |
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| Air Wars Live from (Baghdad)<sup>2</sup> | |
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| Embedded: The News of War and the War Over News | |
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| A Spanish Summer Spreads Around the World: Hoop Dreams and Globalization | |
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| American Sundown: No Country for Old Men, There Will Be Blood and the Question of the Twilight Western | |
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| Cultural Moments | |
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| Introduction | |
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| Return of the Horror Apocalypse | |
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| Looking for Laughs in All the Wrong Places: Quentin Tarantino and the Holocaust | |
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| "I have the stuff that you want": Michael Jackson and the Crotch Shot | |
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| From Star Wars to Avatar: Contemporary Special Effects, Industrial Light and Magic, and the Legacy of the 1970s | |
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| Terra Incognita | |
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| Contributors | |
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| Index | |