“Cinephemera” from a Librarianship Perspective: Theory, Practice, Cataloguing Evidence by Lucia Antonelli

“…Moreover, the analysis is accompanied by a specific study on press-book and posters of ENIC, a national cinematographic body which, from 1935 to 1956, carried out its activity in the movie distribution.…”
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Documentaire et fiction dans Norteado de Rigoberto Perezcano by Marie-Pierre Ramouche

“…From the 1950s and continuing to today, numerous cinematographers have railed against the tragic fate of these thousands of migrants. …”
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In the Name of the British People: Words and Democracy in Three Post-Brexit Films by Nicole Cloarec

“…Even more specifically, each film offers a reflection on the political power of words through its cinematographic tools. In each case, albeit with obvious stylistic differences, both mise en scène and montage give a proper dialectical dimension to the film discourse insofar as the narratives are built on a series of ruptures or contrasts that are orchestrated into an organic whole.…”
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O protagonista negro em narrativas ficcionais baseadas na historiografia: desafios estético-políticos para as produções audiovisuais brasileiras by Maria Aparecida  Silva  Ribeiro

“…Considering the applicability of the law in the context of cinematographic production, the narrative structure of each work highlights indices of formal and thematic choices that, on the one hand, follow classic patterns in the configuration of characters (Rosa et al, 2013) and, on the other, they seek new points of view for reporting historical facts. …”
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Extension du champ télécinématographique de la science-fiction. The Mandalorian (Disney+) by Hannedouche Cédric

“…Going beyond the expected constraints of a monomedia seriality largely based on an expected return of the characters or the variation of a plot from the cinematographic pilot, the Disney + series are rooted in shared universes and therefore transfictional (Saint-Gelais, 2011) much broader by bringing together narrative information given on other media (video games, animation, comics, etc.) that they absorb and claim. …”
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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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Preschool Children’s Audio–Visual Contents: Comparing Value, Educational and Narrative Approaches by Lorenzo Denicolai, Valentina Domenici

“…On the other hand, we analyse two animated films, which are true ‘cinematographic’ texts (Room on the Broom; The Snail and the Whale), designed, however, for television and which respond more to the need to convey educational values of a general and human–identity nature. …”
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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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Tell Me Lies (Peter Brook, 1968) or How I Learned to Start Worrying about Vietnam by Nicole Cloarec

“…However, Brook did not want to just ‘adapt’ his play for the screen but wanted to find purely cinematographic devices to achieve the same effect, which he defined as “confrontation”. …”
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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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The Spartan King Leonidas I: History and modern times by E.A. Tchiglintsev, N.A. Shadrina

“…In the second half of the 20th century and in the first decade of the 21st century, the image of the King Leonidas I in art to greater extend turns to the purposes of entertainment (Valerio Manfredi's novel, Rudolph Mate's movie, and especially the graphic novel by Frank Miller and the cinematographic movie by Zack Snyder titled “300” adapted from it). …”
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Screen interpretation of Franz Kafka's novel 'The Trial': Interaction of the author with the s­cript writer and film director by K.V. Arjantzeva

“…The paper shows certain devices employed by the screenwriter and the film director to make an interpretation of the original text into the cinematographic language.…”
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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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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

“…In several Hollywood movies on the antebellum South, the city of New Orleans pivots upon an unruly woman, ill-adapted to the codes and customs of the country, to serve the cinematographic portrayal of the 19th century Louisiana city, viewed as a topos of cultural and sexual instabilities, as well as a perfect site for spectacles and shows of all kinds. …”
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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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