Oak Tree, Gum Tree by Catherine Gough-Brady, Christine Rogers

“…How much of this becomes an expression of the filmmaker through the images? This work was selected for exhibition at the International Visual Sociology Association conference in 2022. …”
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“Somewhere in California”: New Regional Spaces of Mobility in Contemporary Vancouver Cinema by Katherine A. Roberts

“…The cinema of award-winning Vancouver auteur filmmaker Carl Bessai is illustrative of this phenomenon. …”
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Challenging Islamophobia through Intermediality: Anida Yoeu Ali’s Performance Art by Martina Pfeiler

“…The first work is titled 1700% Project: Mistaken for Muslim (2010), a performance poetry clip that was directed by the Japanese American filmmaker Masahiro Sugano in 2010 and which widely circulates on the Internet. …”
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Documentary film politics and the politics of documentary film by Lieza Louw

“…The film deals with the days leading up to the final and tragic outcome of strike action by miners at a time when the print media predicated the state and the mine owners’ points of view. The filmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice for the mine workers by offering his personal reaction to the deaths of the 34 black men by interviews and archival material. …”
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Britten et l’art de la parabole by Gilles Couderc

“…Auden, the British documentary filmmaker John Grierson and the ideals of the American New Deal to become a "musician for an occasion," a composer whose mission is to educate his audience. …”
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The politics of subterranean atmospheres in China: a study of contemporary chinese mining art by Marijn Nieuwenhuis

“…I analyse this “geologic politics” (Clark, 2013) through the artwork of filmmaker Zhao Liang and the painter Yang Shaobin, both contemporary artists working on subterranean lives, bodies, emotions and atmospheres. …”
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Naître vers la fin : circularités dans Alumbramiento de Víctor Erice by Miguel Rodrigo

“…Paradoxically, Erice's most narrative film, the one that relies most heavily on the linear and irreversible nature of time, is at the same time the one in which the poetics of circularity, present in the filmmaker's work since his first feature-length film, takes up the most space and achieves its most accomplished expression. …”
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Psychogeography as Social Activism in Katerina Cizek’s Digital Documentaries Highrise, The 1000th Tower and Out My Window by Siobhan O’Flynn

“…With the rapid emergence of new digital technologies and social media platforms, documentary filmmaking is undergoing significant shifts globally and the works of Canada’s NFB Interactive program are at the forefront of innovation in the international sphere. …”
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Research of organisation specifics of shooting process in the creation of an audiovisual product by Yu. V. Vorontsova, A. Yu. Mazur

“…This article presents a study of the organisation of the shooting process, taking into account the authentic features of five films by the Spanish filmmaker and photographer Carlos Saura, where the principle of “photography” was the basis for the construction of the frame. …”
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A Digital Trail of Rupture. The German Film Exile 1933-1945 in the Data of Günter Peter Straschek by Imme Klages

“…This contribution concerns a list of film exiles collected by the exile researcher and filmmaker Günter Peter Straschek (1942-2009), whose collection of files belongs to the _German National Library, German Exile Archive 1933-1945, Frankfurt am Main_ and was inventoried according to their Normdata. …”
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D’un jardin, l’autre : jardins collectifs, espaces intimes by Sylvaine Dampierre

“…I am a filmmaker and my first four documentary films were all shot in gardens and in the company of gardeners. …”
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Marketing auteurism: the vanishing industry model behind Pedro Almodóvar’s success in the US by Jennifer Green

“…Almodóvar’s typical production-distribution structure and exportable filmmaking style are outlined, as are his US distributor’s strategic use of specialised press, elite events and targeted marketing of arthouse audiences with a specific cultural capital and an established view of European cinema. …”
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« There are kisses for all » : Le defilé des jeunes hommes by Luc Bouvard

“…Through a constant reference to the table concerned with the diegetic elements that the filmmaker chose to transfer or not to transfer, conflate or dilate, displace or suppress, I have endeavoured to systematize Brian McFarlane’s methodology. …”
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Almodóvar’s Baroque Transitions in the Early Films (1980–1995) by Frederic Conrod

“…Spanish film director Pedro Almodóvar has been detected early on by film critics as a Baroque filmmaker, a qualification to which he has agreed in interviews. …”
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A comparative study of the concept of time in The Blind Owl and its film adaptation based on the viewpoints of Henri Bergson and Gilles Deleuze by Ghazaleh Heydari Abkenar, Asgar Salahi, Hassan Akbari Beyragh

“…To this end, the author and filmmaker have used a variety of internal time techniques, including diurnal cycles, intuition, reminiscences, time interferences, and time crystal components. …”
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New Orleans as the city of misfit women in Jezebel (William Wyler, 1938) and The Flame of New Orleans (René Clair, 1941) by Taïna TUHKUNEN

“…Viewed as a strikingly un-American city where cultural codes mingle and mix without, however, engendering a “melting pot”, New Orleans offers an engaging backdrop for filmic fictions challenging the archetypal romantic image of the “Old South”.This article explores two such fictional female figures who defy the vision of the pastoral South rooted in 19th century plantation novels in William Wyler’s Jezebel (1938) and The Flame of New Orleans (1941), a movie made by the French filmmaker René Clair during his exile in the United States during the Second World War. …”
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Intersemiotic Translation: From Medieval Poetry to Modern Movie by Leila Nik Nasab

“…In this adaptation, the filmmaker did not aim for complete fidelity to the original text, nor was its originality fully preserved. …”
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Amazon Journeys and Poetic Re-Discoveries in Jan Conn’s 'Jaguar Rain' and Malu de Martino’s 'Margaret Mee e a Flor da Lua' by Magali Sperling Beck, Anelise R. Corseuil

“…A few years later, in 2012, the documentary Margaret Mee e a Flor da Lua, directed by Brazilian filmmaker Malu de Martino, was premiered. In the film, Martino reconstructs Mee’s final journey to the Amazon in search of the moonflower while also reinstating the artist’s important contributions as an artist, environmentalist, and contemporary explorer. …”
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Éloge de l’inauthenticité: le dix-huitième siècle à l’écran, autour de 'Barry Lyndon' de Stanley Kubrick by Alexis Tadié

“…He treats the eighteenth century less as an end point than as a common culture on which to base certain aesthetic preconceptions. The filmmaker awakens in the viewer the memory of Voltaire’s text, both to underline its relevance to the twentieth century and to create a satirical link to the Enlightenment. …”
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Polskie kino lat 1949–1955 wobec realizmu socjalistycznego. Ideologiczna mobilizacja jako kontekst dla myśli pedagogicznej by Marek Sokołowski

“…The article concerns a specific period in the history of Polish cinematography, called socialist realism (1949–1954). The new style of filmmaking (according to the ideology of the Polish Communist Party), was imposed by the filmmakers, but was not accepted by the cinema audience. …”
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