Review of Méliès to 3D: the Cinema Machine exhibition at the Cinémathèque de Paris (October 5th-January 29th, 2017) by David Lipson

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Application of Dual Source Mono+Combined with Cinematic Rendering in Cirrhosis Portal Vein Imaging by Xiamin LI, Xiaoying HUANG, Zhifei LI, Fangkai GUO, Pengchao WANG, Chunhui SHAN

“…Conclusion: The dual source CT Mono+technique can improve the image quality of cirrhosis portal vein CT with cinematic rendering.…”
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Dissociative identity disorder (did) of marc Spector in marvel cinematic universe’s show ‘moon knight’: a psycholinguistic analysis by Fitria Aprilia

“…The data of this study were obtained from a Marvel Cinematic Universe’s show Moon Knight. The techniques for collecting data were by watching every episode of the show, taking notes, classifying the data, doing interpretation, and drawing conclusion. …”
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Ein Leben für den Fels: Den Körper seinen Gebrauch anpassen by Susann Winsel

“…The idea is that the adaptation of the body to the rock and its particular challenges was also construed through cinematic means, specifically the commanding, powerful character trope of the “mountain person.”…”
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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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Screening A Christmas Carol (Dickens, 1843): Adaptation as Completion by Florent Christol

“…For what is the Carol if not a text about a character’s personal cinematic experience? The tale contains ‘techniques’ that would only be developed in cinema, as if Dickens was writing a story to be told by a medium not yet available in the Victorian age. …”
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A Madame Bovary’s Daughter: David Lean’s Visual Transliteration of Flaubert by Franck Dalmas

“…This article deems a different cinematic approach with a film that has not received full attention: Ryan’s Daughter by David Lean. …”
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Open Your Eyes Wider: Overexposure in Contemporary American Film and TV Series by Monica Michlin

“…While there are realistic uses of excessive lighting in film, overexposure almost always appears symbolic, and operates as a cinematic code that translates exposure to the magical, supernatural, or unconscious “other.” …”
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