The Making-of Documentary: An Approximation to some Discourse Intentions and Contemporary Uses by Armando Andrade Zamarripa

“…Cinéma & Cie…”
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From the Small Screen to the Big Screen: The Super8's Distribution of Sandokan TV series by Nicole Braida

“…Cinéma & Cie…”
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Francesco Spampinato, Art vs. TV A Brief History of Contemporary Artists’ Responses to Television, London: Bloomsbury Academic, 2021, pp. 368 by Maria Teresa Soldani

“…Cinéma & Cie…”
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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…Cinéma & Cie…”
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Queering Italy: A Queer Vision of Today's Italy in the Streaming Platforms' Serial Landscape by Greta Delpanno

“…Cinéma & Cie…”
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Yorùbá Films in Time Perspective: Past, Present, and Future by Ifeoluwa Theophilus Akinsola

“…The Yoruba films started in 1976 at the cinema (past), metamorphosed into video mode in the 1990s which is still in place (present) and gradually going back to the cinema and the stage mode (future from now), which was its origin because the Ogunde dramatic tradition: a stage medium, is agreed as Yoruba film precursor. …”
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The Action Mode: Mile 22 and the Tension of Hypermediated Embodiment by Jonah Jeng

“…Furthermore, I propose that what I am calling the action mode – action cinema’s anxious articulation of the physical body’s limits and capacities – is ideally suited to making this tension not only seen but felt. …”
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Police/Militia in (Post-)Soviet Popular Culture (Towards a Historical Iconography of Power) by D. V. Popov

“…This constructivist cinema involved the viewer in the cinematic reality by likening them to the main character, a militiaman who acts as a moral guide. …”
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Foule et public by Emmanuel Plasseraud

“…It had many interpretations, which we can find again in cinema writtings. For those who fight against cinema, crowd can be seen as Gustave Le Bon describes it in its popularization of crowd psychology. …”
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Mental Nerve Paraesthesia: A Report of Two Cases Associated with Endodontic Etiology by Neeta Patel, Akshayraj Langaliya, Shikha Kanodia, Aravind Kumbhar, Aastha Buch, Aarshvi Shah, Himani Bhatt, Drashti Panchal, Sharan Shah, Jinali Shah

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ENTERTAINMENT VIOLENCE IN THE LEISURE OF STUDENT YOUTHS by M. I. Zhabskiy, К. A. Tarasov

“…The current bursts of violence in the Russian comprehensive school actualize the issues of the place held by entertainment violence in the cinematic leisure of the learning youth, and of the possibility of its stimulating the aggressive behavior in their midst. …”
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Voiler et dévoiler : temps et illusion dans Alumbramiento de Víctor Erice by Miguel Rodrigo

“…In a very fertile tension, Erice's cinema integrates this reflexive dimension into stories that do not question the conventions of traditional cinema: the construction of the plot and the characters aims to recreate a "plausible" temporality, a framework more or less comparable to the daily experience that the spectator has of time. …”
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Écran magique et prégnance du hors champ : l’art du cadrage dans « Mrs Bathurst » de Kipling by Élodie Raimbault

“…The Bathurst « case » remains mysterious despite numerous explanatory attempts by critics, be they Charles Carrington or Philip Mason ; even an inquest such as Nora Crook’s fails to reveal the final truth about this story.« Mrs Bathurst » must certainly be seen rather as an experience on the narrative mode of the cinema. Philip French noted that it uses writing devices adapted from the cinema. …”
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O audiovisual imersivo nas obras de arte “The Visitor” e “Figuras na Paisagem”: processos poéticos de criação a partir da evolução do aparato visual by Silas Seabra de Sousa

“… Este artigo analisa a expansão do cinema por meio da imersão e interatividade em espaços expositivos, como museus e galerias, focando na evolução dos aparatos de mediação impulsionada pelo avanço da tecnologia digital. …”
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Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films by Elise Pereira Nunes

“…A self-taught filmmaker working with very low budgets, fascinated with Hollywood’s glamor as well as exploitation and underground cinema, John Waters has appropriated techniques and modes of production, distribution and promotion specific to exploitation from the beginning of his career in the late 1960s. …”
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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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Exploitation Feminism: Trashiness, Lo-Fidelity and Utopia in She-Devils on Wheels and Blood Orgy of the Leather Girls by Kristina Pia Hofer

“…From the mid-1960s onwards, American exploitation cinema has spawned a number of Girl Gang movies whose potential for challenging androcentric and heteronormative modes of representation have been hotly disputed by fans and academics alike. …”
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Origen y contenido del cine proyectado con fines educativos hasta 1960 by Laura López Martín

“…Educators have always used images to illustrate their explanations. In this sense, cinema can bring the reality to the students by moving images. …”
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Film watching habits of journalism students from the perspective of the theory of utilities and satisfaction by Vujović Marija, Obradović Neven

“…According to research by the Institute for the Study o f Cultural Development, the largest audience group in Serbia is the cinema audience. In this paper, film is viewed as a medium, but also as media content, which has its own active audience. …”
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La « nostalgie » dans les remontages de Harun Farocki by Amélie Bussy

“…Archives images may have inscripted « drownings » (LEVI, 1989) that have taken place in History. That cinema is able to edit them in a way we feel « concerned » with what they filmed is certainly at the heart of Harun Farocki's work around the images of the victims from the nazis camps. …”
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