Tell Me Lies (Peter Brook, 1968) or How I Learned to Start Worrying about Vietnam by Nicole Cloarec

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A Critical Review on the Book An Approach to Realism, Cinema and the Expression of Religious Concepts by Ali Khorashadi, Dariush Esmaeili

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Le Transperceneige et Snowpiercer : figuration, sas et espaces de transit(ion) by Tessa Sermet

“…As a result, the relationship between the passengers / inhabitants of the train and the outside world changes, and the landscape becomes not much more than an image. The climate catastrophe also reinforces the exclusionary patterns put in place by the totalitarian system in power : the conjunction between (neo)capitalism and Anthropocene mainly affects the population in a marginal position, that is to say the ones confined in the rail cars. …”
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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

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L’homme obscur et l’esprit du jeu vidéo by Michaël Crevoisier

“…Béla Balázs is one of the first philosophers of the cinema. He bases his praise on an aesthetic characteristic of the cinematic image, made possible by the technique of the projection of moving images : we discover immense faces revealing the life of the spirit in their expressive movement. …”
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"Josef K von 1963...": Orson Welles' ‘Americanized’ Version of The Trial and the changing functions of the Kafkaesque in Postwar West Germany by Anne-Marie Scholz

“…Others, however, appreciated the didactic value of Welles’ international co-production, which coincided with the beginnings of the New German Cinema movement, a confrontational effort to engage with questions of the past through film.…”
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The Art and life of Alàgbà Fálétí – A Pic torial, Art and Artifacts Exhibition in Honor of Alàgbà Adébáyọ̀ Fálétí (1921- 2017) curated by Akinsola Adejuwon and Seyi Ogunjobi... by Akinsola Adejuwon

“…These facets of life are arranged in a flow of one hundred and thirty-two frames of pictures and images appropriately hanged on the gallery wall boards, awards, artworks and objects displayed on individual stands. …”
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