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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Utiliser la science-fiction pour partager les sciences by Roland Lehoucq

“…The second stage is an investigation of scenes from literary or cinematographic science fiction in order to extract implicit informations. …”
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Taḥyâ as-sînamâ ! Produire du sens : les enjeux politiques de l’expression dans l’espace public by Cécile Boëx

“…We will illustrate these practices through examples form different registers: the last demonstrations against the Mehlis investigation, and cinematographic expression, which has played a leading role in bringing dissension into the public sphere.…”
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Problèmes de définition ou définitions du problème ? La « pornographie » dans « l’affaire Baise-moi » by Damien Simonin

“…Many reactions appear in France as Baise-moi is released in June 2000, namely because it appears as ambivalent regarding distinctions between cinematographic genres, between porn and “traditional” films. …”
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La migración latinoamericana actual en el cine mexicano y argentino   by Paola García, Perla Petrich

“…Nevertheless, in spite of the fact that there are very different contexts, nowadays cinematographic productions of both countries tend to complicate the subject matter, to show other aspects, besides poverty and dictatorships, which motivate  migration and  lack of integration. …”
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Les cinémas arabes en tournée et en tournage festivalier by Gemma Ventura-Mustienes

“…We focused our study on the mission and format of these festivals’ first year editions, thereby connecting these cinematographic events to the political, social and cultural contexts in which they take place.…”
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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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Deus escreve certo por linhas tortas. A estética caipira de Santo Antônio e a vaca by Célia Tolentino

“…We suggest, agreeing with Benjamin – who considers that narrative is the best expression of manual and traditional work’s time– that the story related by the film A proteção de Santo António constitutes a cinematographic narrative which can be classified as caipira. …”
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In the Shadow of the “Indeterminate Speech-Act”: The Populist Politics of Rumor in Fritz Lang’s Early Sound Films by Florian Zappe

“…Based on Gilles Deleuze’s claim that rumor has been a “cinematographically privileged object” in early sound cinema, this essay will provide a political analysis of the representation of rumor in two early sound films in the transnational oeuvre of Fritz Lang. …”
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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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An analysis of the meaning constructed by woman gaze through cinematic instruments in Yeşim Ustaoğlu’s film Clair Obscur (2016) by Beril Uğuz

“…According to the findings, in Clair Obscur, the subjectivities of women characters are prioritized through different cinematographic, editing, and mise-en-scène tools. The film distinguishes itself from mainstream cinema codes with its disturbing thematic 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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Le biopic du sportif américain by Rémi Fontanel

“…Golf, baseball, American football, athletics and boxing (to evoke only the five most popular sports within this subgenre) underpin sports adventures and intensely singular existential experiences. These cinematographic epics are steeped in such values as perseverance, sacrifice, belief in destiny, boldness, courage, etc., the man behind the athlete existing only in relation to the particular community he represents, challenges or dreams to fit in. …”
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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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Explication of screen culture by Dmitry Belyaev, Ksenia Aksenova

“…The paper identifies four main screen formats: cinematographic, television, computer and smartphone-mobile. …”
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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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