Problematizando a indústria dos sonhos: questões sociológicas para analisar o cinema de entretenimento estadunidense by Túlio Cunha Rossi

“…Methodological questions about the analysis of fictional movies and its contributions to Sociology are dealt with, as well as about the presence of cinematographic references and audiovisual media in contemporary life. …”
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Knowledge as Film vs. Knowledge as Photo: Alternative Models in Early Soviet Thought by Steila Daniela

“…In particular, while discussing Einstein’s relativity, Bogdanov considers sense organs, memory, and all the apparatus of human knowledge ‘as a certain kind of cinematographic device’. Sergei Eisenstein deems that cinema is ‘an excellent instrument of perception … for the sensation of movement’. …”
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Tunde Kelani: The Man Exceeds the Frame by Toyin Falola

“…Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò! …”
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Une constellation invisibilisée by Marie-Dominique Gil

“…For Kate Millett, the film Three Lives (1971), directed by an exclusively female team, constitutes the concrete application of a feminist teaching of the cinematographic arts. By considering that the women who took part in this project participated in the birth of an artistic constellation, this article focuses on the socio-historical mechanisms at work in the invisibilization of the relationship between Kate Millett and her collaborators. …”
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Representation of Traumatic Memory in the Film Drishyam: A Barthesian Reading by Srilekha B. P., V. Bharathi Harishankar

“…Enhanced by various cinematographic techniques, the depiction of trauma is magnified within the visual narrative. …”
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Aller au cinéma pour apprendre à être « moderne » ? by Anne Kerlan

“…This article explains, through the study of a very special movie theater, the True Light Theater (Zhenguang xiyuan), how Beijing moviegoers borrowed the new, western etiquette of the cinematographic shows. At the True Light, the manager introduced new rules of behavior that were modeled from an etiquette supposedly coming from the western movie theater. …”
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La fabrique de l’homme objet dans Lolita de Stanley Kubrick by Emmanuelle Delanoë-Brun

“…Beyond considerations regarding the degree of continuity or discrepancy between the original work and its filmed version, Stanley Kubrick’s adaptation of Nabokov’s novel fits into a body of cinematographic work that relentlessly probes the question of man’s position in the social, political and intimate sphere, of his often failed aspiration towards selfhood and humanity. …”
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De la revendication kabyle à la revendication amazighe : d’une contestation locale à une revendication globale by Nassim Amrouche

“…Similarly, cultural and media representations, both literary and cinematographic, further explore the deeper social malaise evident in politics and the violence implicit in public expression.…”
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El Madrid de la Bestia : l’apocalypse urbaine d’Álex de la Iglesia by Diane Bracco

“…This article proposes an analysis of the variations on the apocalyptic theme, cornerstone of contemporary Madrid’s cinematographical portrait that the director paints in his movie. …”
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American rhapsodies revisited: figures de l'altérité et voix mêlées dans Music through the Floor (2005) d'Eric Puchner by Nathalie Vincent-Arnaud

“…In keeping with some famous works of art–mainly musical or cinematographic–aimed at characterizing the U.S.A. as a whole, Puchner's writing gives birth to a rhapsodic form in which, even though they do blend sometimes in an elusive way, each voice is that of a soloist performing on his own in a "community of loners".…”
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Construire des salles de cinéma durant les Trente Glorieuses : le cas méconnu de l’architecte Georges Peynet by Andrés Avila Gómez

“…This is the case of architectures designed for cinematographic exploitation, whose research and publications devoted to their evolution (Meusy; Abadie) have so far specifically addressed the periods of its birth (1895-1918) and development (between the wars), without examining the intense theatre construction activity since the Reconstruction.In this context, and based fundamentally on the analysis of architectural and film periodicals of the time, our text presents a first approach to the figure of the most prolific theatre designer in France from the 1940s to the 1970s: Georges Peynet. …”
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DELINEATION OF WOMEN IDENTITY IN THE DISNEY ANIMATED FILM ECANTO (2019) by Agustin Diana Wardaniningsih, E. Ngestirosa Endang Woro Kasih

“…This study uses Stuart Hall's representation theory and Christian Metz's Semiotic Analysis Method (MAS), or cinematographic semiotics. By the critical paradigm, this MAS is qualitatively interpretive. …”
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Jean Painlevé : de la science à la fiction scientifique by Florence Riou

“…Jean Painlevé (1902-1989), réalisateur et scientifique usant du cinématographe, met l'accent sur ce point dès les années trente. …”
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Immagini migranti, immagini in-discriminanti Latenze e valenze nell’uso di foto e filmati in ambito migratorio by Alberto Baldi

“…The fixed, stentorian lapidary and three-dimensional image depicted in these portraits, seemed to provide the illusion to cross the threshold of overseas metropolis or of any other place on earth. It was a cinematographic image, therefore one in motion, in the end a more realistic picture which gave to the emigrants the opportunity to show off the success of their migratory project, had it actually been realized or not. …”
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Wiews of the nation's memories: A stereotyped vision of the Lithuanian history of the 20th century in Lithuanian documentary films by Rūta Šermukšnytė

“…The analysis has shown that manifestations of stereotyped visions of the Lithuanian history are determined by certain cinematographic tendencies. Historical films and programs that are considered to be an adaptation of the national narrative cinematography have been predominant since the Lithuanian independence in 1991. …”
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Cinéma et lien : une enquête intime auprès d'une famille italienne en Lorraine by Marion Froger, Émilie Tullio

“…Our hypothesis would thus be that the family's cinematographic experience is closely related to their migrants' history – be it directly or indirectly lived. …”
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Self-Sacrifice of a Scientist in Soviet-Russian Cinema by S. M. Medvedeva

“…As it is shown in the article these pseudoreligious traits remain unchanged in the cinematographic images of scientists. In the article we ague, that the subject of self-sacrifice of a scientist was pictured by Soviet-Russian cinema during its whole history. …”
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L’histoire peut-elle se faire avec des archives filmiques ? by Laurent Véray

“…L’auteur évoque ensuite, à travers son film, L’Héroïque cinématographe, une expérience personnelle de réalisation documentaire et nous livre ses réflexions – à la première personne du singulier – sur l’écriture filmique de l’histoire à base d’images d’archives. …”
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From Dickens’s Theatrical Performance to Contemporary post Dickensian Narrative and Artistic Performance (Acker, Ackroyd, Waters and Rushdie) by Georges Letissier

“…With English Music, Ackroyd, for his part, illustrates what Clayton in his study: Charles Dickens in Cyberspace (2003) calls “undisciplined” creativity, by revisiting Great Expectations trans-artistically, through an odd combination of the pictorial, the musical, the cinematographic and the theatrical. This curious mixture of genres turns narration into fictionalized artistic performance, devised as a paean to the English tradition. …”
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