Para una historización de la relación entre cine y memoria. Las producciones sobre la dictadura de Pinochet (fines de los 70 e inicios de los 80) by Marcy Campos Pérez

“…We will use a corpus that considers interviews with filmmakers, analysis of exile films and productions made inside Chile, contained in publications of the same period. …”
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Archétypes du corps cinématographique du narcotrafiquant mexicain by Magali Kabous

“…Therefore, we try to draw various archetypes of the drug dealer’s body in films. How do filmmakers depict their character, their physical appearance and metamorphosis and their integration into a group? …”
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Alegorías, metáforas y símbolos en el cine sobre la Revolución mexicana by Alvaro Vázquez Mantecón

“…This work intends to analyze the way Mexican cinema has built allegoric images of the Mexican Revolution through sequences or key scenes which, far from being a collection of official images, show the complexity of the Mexican filmmakers’ vision of the Revolution. They show the resistance or the dialogue with the concept of State and transform history into something which is alive and helps to catch a glimpse of contemporary worries. …”
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Sex and the City: A Situationist Reading of Jens Jorgen Thorsen’s Film Adaptation of Henry Miller’s Quiet Days in Clichy by Jennifer Cowe

“…Thorsen was unarguably one of Denmark’s most inventive and revolutionary filmmakers and Quiet Days in Clichy can be viewed in relation to his engagement with the concepts of the SI.…”
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La mise en scène de la Lorraine au cinéma by Delphine Le Nozach, Violaine Appel

“…The authors look at portrayals of Lorraine by local filmmakers. By studying their films and decoding their discourse, the authors reveal how Lorraine’s specific characteristics as a region are presented in film and identify a typology of three markers of regionality in film: society and culture, history, and memory.…”
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Los inmigrantes en el cine argentino. Panorama general y estudio de un caso actual: Un cuento chino, 2011 by Estela Erausquin

“…It is possible to observe that there is practically no filmmaking regarding the new Asian immigration, particularly Chinese, in spite of its considerable importance. …”
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Un cinéma palestinien « en mal d’archive » by Laure Fourest

“…Through the analysis of three Palestinian films created in the 2000-2010 period, this article considers filmmakers’ insertion of archival images in their montages: what strategies do they employ and for what purpose? …”
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Esthétique du kitsch et ruralité dans le cinéma irlandais by Isabelle Le Corff

“…From the end of the 1970s there is an ironic slip of this representation. Indigenous filmmakers foster the iconography of the cottage with a new sense of irony, in the spirit of Camp, to castigate conservative national values. …”
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Un cinéma affranchi du contrôle de l’État by Nicolas Appelt

“…Beyond the simple testimony and independently of their career path, Syrian director filmmakers give their perspective in the comprehension of the changing situation in the country, engaged, at the same time, in a reflection on cinema. …”
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Galicia ¿escuela de subalternidad? by Marta Álvarez, Laureano Montero

“…María Ruido has become one of the most recognized video artists and filmmakers (in a broad sense of the word) of the contemporary Spanish scene. …”
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« Qu’es chabat ». Une expérience de la disparition entre présence et rémanence. Situation de l’occitan dans le nord limousin by Jean-Pierre Cavaillé

“…In this paper, we attempt to analyze the situation of Limousin Occitan, or rather what remains of it, through a series of cases encountered during a campaign of documentary filmmaking in Occitan. In this analysis, a concept has emerged, that of “remanence”, in order to describe the situation of a language considered by the very people who speak it as dead, moribund or in a state of survival. …”
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Cartographie des pornographies critiques by Myriam Le Blanc Élie, Julie Lavigne, Sabrina Maiorano

“…Since the 1980s, in a corollary movement to the emergence of hardcore mainstream pornography, several women filmmakers (cisgender and transgender) produced critical pornography that is rooted in pro-sex feminism. …”
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Vidas desperdiçadas? Uma análise de Estamira, de Marcos Prado, e No quarto de Vanda, de Pedro Costa by Mônica Horta Azeredo

“…However, when hoisted by the hands of filmmakers, they are transformed into characters of their own and make room for something that has always been historically denied to them: the speech. …”
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Dickens, David Lean, and After: Twenty-First-Century Adaptations of Oliver Twist by Chris Louttit

“…In interestingly varied ways, as this essay will show, subsequent filmmakers must offer a response to the David Lean version as well as providing a reinterpretation of the novel itself.…”
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Perdus dans l’espace : survivre à la mondialisation dans Gravity et Seul sur Mars by Siobhan Carroll

“…Examining the spatial politics of Gravity and The Martian allows us to see not only the filmmakers’ attempts to negotiate the anti-globalization backlash of the 2010s, but also the way in which ostensibly neutral natural spaces convey political and cultural meaning.…”
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Quand le théâtre s’inspire du cinéma : Jean Cocteau, Sergueï Eisenstein et Tennessee Williams by Sophie Maruéjouls-Koch

“…His autobiographical essays are peppered with references to famous filmmakers who helped him shape his language for the stage. …”
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«Pasa la vida»: Cartografías Urbanas de Madrid en la Post-Transición (1982-1994) by Vicente Rodríguez Ortega

“…From the late 1980s to the mid 1990s, filmmakers tackle a social fabric characterized by a «presentism» that leaves behind a productive commitment to recent Spanish history and the capacity of the citizenry to decisively intervene within the constitutive pillars of social reality. …”
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Transfer of Ideological Stances through Stylistic Choices in Translation: The Case of the Persian Subtitle of The Matrix by Sima Imani, Jalil Jalali

“…Nevertheless, stylistic choices of the subtitler could reveal the ideologies of the translator and filmmakers. Subtitling in Iran is mainly performed by fans, and their subtitles are widely used on various unauthorized websites. …”
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The Making-of Documentary: An Approximation to some Discourse Intentions and Contemporary Uses by Armando Andrade Zamarripa

“…In the first, its contemporary definition is proposed; In the following, we establish the distinction between the Making-of Documentary and its predecessors or other contemporary practices; Lastly, we approach its discursive intentions — as a promotional object of the film which it alludes to and of its filmmakers as “authors” — and its current uses, which promote an expansion of cinephilia and self- learning in the viewers. …”
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La Palestine comme écran, ou comment passer « de l’autre côté du miroir » by Laure Fourest

“…Working on Palestinian film production amounts to exploring how filmmakers deal with the numerous representations of their land and people such as they are produced by Others, whether Israelis or Westerners. …”
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