Le cinématographe n°16 de la cinémathèque by Christine Gaudet

“…Le cinématographe numéro 16 est un objet novateur datant de 1895 et qui a traversé l’océan Atlantique avec les frères Lumière. …”
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A cinematographic analysis of English-dubbed Korean films by Miseon Yoon

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Technology and the Cinematographic Writing of Trauma in Kipling’s Motoring Short Stories by Élodie Raimbault

“…Thematically, stylistically and structurally, the association of motoring and the cinematograph led Kipling to combine two technologies that offer a fascinating mobile spectacle. …”
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Intuiciones visuales para pueblos olvidados. La utilización del cine en las Misiones Pedagógicas de la Segunda República Española by María García Alonso

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Crimes, faits divers, cinématographe et premiers interdits français en 1899 et 1909 by Albert Montagne

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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

Subjects: “…cinematographic criticism…”
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Una mirada a las representaciones cinematográficas de las regiones fronterizas en México by Jean Philippe Clot, Heidi Elizabeth Aguilar Pérez

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Du dépouillement surgit le silence : une adaptation sous couvert de minimalisme audiovisuel by Louis Daubresse

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Positivité et négativité du goût culturel by Hervé Glevarec, Michel Pinet

“…The authors analyze data on taste and inappetence regarding cinematographic genres taken from the 2008 national survey of cultural practices in France, in order to describe these sociocultural universes and the different ways appetence and inappetence, with respect to cinematographic genres, can combine. …”
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Spanish cities as filming locations: analysis and spatial distribution by Agustín Gámir Orueta, Patricia Montecino Huedo, Sergio Reyes Corredera

“… The main objective of this article is to show the spatial distribution of Spanish cities according to the degree of their cinematographic projection. For this purpose, a sample consisting of 178 feature films was selected. …”
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Les images animées au Musée de l'Homme ou la rencontre de deux mondes (1930-1950) by Alice Gallois

“…From the origin of cinematograph, many where those who went out of Europe to film otherness. …”
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Cinephemera Round Trip. Postcards for and by Anselmo Ballester by Stefania Babboni, Sara Martin

“…Comparing cine-postcards, preparatory sketches, and posters from the Ballester collection, spanning a period of fifty years, we will focus on how photographic postcards of national and international movie stars, represented the main models for the painter, aimed at creating an iconography consistent, and adaptable to multiple cinematographic genres. We aim to demonstrate how two ephemeral materials can be juxtaposed, becoming both a source and a model on which a new cinematographic paratext can be developed.…”
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The Making-of Documentary: An Approximation to some Discourse Intentions and Contemporary Uses by Armando Andrade Zamarripa

“…The article is divided into three sections: Towards a Definition of the Making-of Documentary, Meta-cinematographic Formats and Functions and Specificities of the Making-of Documentary. …”
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Main marketing trends in the Russian cinema market in the current realities by O. V. Zhuravleva, A. S. Lobacheva

“…The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. …”
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poum et cinéma: entre art et Révolution (1936-1937) by Cindy Coignard

“…Here we have a preliminary study to understand the poum’s point of view about cinematographic art. In a context of civil war, we have to wonder about the choices which are made in the diffusion of films: which criteria come into play and how they made the selection in relation to the dissident Marxist ideology.…”
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Cinéma/Science-fiction : vers un changement de paradigme critique ? by Simon Bréan

“…It would thus be necessary to measure the impact of the globalized diffusion of cinematographic productions on the conception of the works, by questioning in particular the articulation of the megatext of science fiction to its various national macrotexts. …”
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Художественное слово Федора Достоевского в современной культуре (подготовка к анализу театрально-кинематографической адаптации литературного текста)... by Halina Chałacińska

“…In accordance with theatrical and cinematographic experiments, in the space of model extensive complexity of Dostoyevsky's text, immanent readiness of the verbal material to transform into another type of artistic expression in order to reveal mentally meaningful operations inflicted by the initial impulse of adapted reality can define itself as a distinctive factor of the forming function of the word of the Russian master in the contemporary culture.…”
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"Realismo" e subalternidade na narrativa brasileira contemporânea: o caso de Tropa de elite by Vinícius Gonçalves Carneiro

“…To understand the power games behind the movie and its reception, it is important to contextualize Elite squad in the contemporary Hollywood production, in a hypothetical Brazilian Realism tradition and in the cinematographic and literary representation of the subaltern. …”
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Femmes et pornographes ? by Stéphanie Kunert

“…For this first issue of the revue, we interviewed four film-makers whose cinematographic art deconstructs the means and significations of pornography, representations of gender and sexuality.Emilie Jouvet, Maria Beatty, Catherine Corringer and Shue Lee Cheang express, in this interview, their vision of pornography, art and feminism.Wether their art is reclaimed as erotic, explicit or pornographic, they have in common a creative and somewhat “queer” approach of sexual representations.…”
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Les fonctions sociales du cinéma selon Emmanuel Bove by Christophe Trebuil

“…From local cinema to actors’ pictures pinned on the walls, the cinematographic world is part of places and communities: as the café or the street, the movie theatre is associated with periodical activities; the different representations of the players invade as much the urban area as the private life. …”
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