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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Tunde Kelani: The Man Exceeds the Frame by Toyin Falola

“… The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. …”
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Protocole d’errance d’une forme by Francesca Cozzolino, Coralie Maurin, Kristina Solomoukha

“…Designed by an anthropologist, an artist, and a filmmaker, this audio-visual narrative is built like a virtual trip through different groups of images in which different variants of the caracol are shown—a motif that, ranging from the representation of the snail shell to the spiral, embodies both the Maya past and the Zapatista ideals of the present. …”
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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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La cabane éclatée. Morcellement des objets immobiliers apparentés à l’art brut by Roberta Trapani

“…In the early 1930s, Jacques Brunius (1906-1967), poet and filmmaker, introduced the remarkable architecture of a rural postman from Hauterives, Ferdinand Cheval (1836-1924), to the surrealist group. …”
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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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Adebáyọ̀ Fálétí: The Passing of a Cultural Icon by Akin Adeṣọkan

“…Walking out the building with cultural critic Toyin Akinosho at the end of a visit with the filmmaker Tunde Kelani, I also find it quite chastening.   …”
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Une « drôle de guerre » à l’écran : Khalkhin Gol by Alexandre Sumpf

“…Shot in 1939 in Mongolia and edited in Moscow by documentary filmmaker Ilya Kopalin, Khalkhin Gol recounts the achievements of the Red Army and its commander General Zhukov in the struggle against the Japanese enemy. …”
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Žáner — prekliatie a požehnanie slovenského filmu by Juraj Malíček

“…This study presents key film works of Slovak cinema in the context of its development from the establishment of the independent Slovak Republic to the present day, with an emphasis on the increasingly prevalent inclination of Slovak filmmakers towards so-called genre film. The fact that Slovak cinema seems to have everything — except for an audience — can be considered a long-standing and persistent problem, but it does not explain the entire state of affairs. …”
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Cinema and city placement of Porto: from Manoel de Oliveira to Gabe Klinger by Xosé Somoza Medina

“…This article analyses the relationship between cinema and the city of Porto, from the first film episodes to the co-financing by the local Film Commission of the film Porto, by Brazilian-born filmmaker Gabe Klinger. The study contrasts the way in which local director Manoel de Oliveira projected the city of Porto in his works, with the objective and qualitative analysis of Gabe Klinger’s film. …”
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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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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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Cultural Signs in Multilingual Drama Feature Films: Rendition Strategies by Homa Tavousi, Azadeh Eriss

“…The contemporary international landscape is more accurately portrayed in the works of filmmakers who increasingly choose to incorporate multiple languages. …”
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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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Who Owns AI? by Amy Whitaker

“…This work adds to research in arts entrepreneurship because copyright and shared value is so vital to the livelihood of working artists, including writers, filmmakers, and others in the creative industries. Sarah Silverman’s lawsuit against OpenAI is used as the main case study. …”
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Quantum-inspired framework for big data analytics: evaluating the impact of movie trailers and its financial returns by Jaiteg Singh, Kamalpreet Singh Bhangu, Farman Ali, Ahmad Ali AlZubi, Babar Shah

“…It would offer valuable insights for filmmakers and marketers to optimize audience engagement and financial returns.…”
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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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