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emotion-orientated introduction to the topic is that such a perspective is missing in social-science-influenced media research, where emotions are often conspicuous by their absence. This may seem surprising because the field in fact quivers 6Exposed with emotion, dealing as it does with a topic described by Norwegian media researchers Anders Todal Jenssen and Audun Fladmoe as exhibiting a special kind of aura which is largely occasioned by indignation. A person who comments on a scandal can show his or her anger without reservations through the choice of words and

in Exposed
The Spanish Gardener and its analogues

promotion from classics Lower V to science Upper V with the groovy Mr Hunter). Taplow’s desire to find out if he has been promoted is given so much space in the film that it represents more than a simple graduation from one class to another (the sign that Crocker-Harris’s private tutoring has paid off), but comes to signal a kind of fatherly bequest. Taplow is the sole pupil who wants what Crocker

in British cinema of the 1950s
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scandalised, condemned, fallen figures. True, some of them have managed to get to their feet again; but others are still lying there, seemingly forever crushed. Ronson takes up internationally known cases, at least in the Anglo-Saxon part of the world. One of them is the best-selling American popular-science author Jonah Lehrer, who was caught out having fabricated facts in some of his books, whereupon two were recalled by his publisher, Houghton Mifflin Harcourt (Ronson 2015:12–23). In connection with these revelations, Lehrer was thoroughly dragged through the mud, not

in Exposed