Tracing Ophelia from Millais to Contemporary Art: Literary, Pictorial and Digital Icons by Laurence Roussillon-Constanty

“…More recently, further investigation of the Shakespearean character as it resurfaced in literature, film and cinema has brought to light the inherent contradictions relating to her very nature: the more Ophelia is represented and made visible in literature and the arts, the more she seems to be vanishing. …”
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PHILOLOGY AS A SCIENTIFIC AND EDUCATIONAL PROJECT by Pavel P. Shkarenkov

“…The institutionalization of comparative studies as a complex specialization - not only for philologists but also for historians, translators, theatre and cinema critics and experts - has already proven its heuristic value and educational effectiveness over the years.…”
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Education and memory. Pedagogy of remembrance and communication design by Daniela Anna Calabi, Beatrice Borghi, Clorinda Sissi Galasso

“…Luxemburg in Milan interpreted the MIUR call for applications ‘Cinema per la scuola – I progetti delle e per le scuole’, proposing memory topics and creating a documentary about the Institute Marchiondi ‘for problematic children’. …”
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„Pokonani mężczyźni”. O męskości w filmach Europy Środkowo-Wschodniej by Dagmara Rode

“… Dagmara Rode przedstawia książkę Ewy Mazierskiej Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble (2008). W swojej publikacji Mazierska proponuje konsekwentną lekturę wybranych aspektów filmów polskich, czeskich i słowackich, trafnie wskazując przemiany, jakim pod wpływem transformacji politycznych, ekonomicznych i społecznych podlegały reprezentacje męskości. …”
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Les coulisses du sublime by Emmanuel Grimaud

“…Cinema is engaged from its origins in a frantic race to make physically impossible actions visually plausible by camouflaging their conditions of application. …”
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Charles et ses images by Anne-Marie Baron

“…The first directors made a victim of him, but gradually, the cinema began to emphasize his deleterious dimension and attributed to him a large part of the responsibility for Emma’s grief. …”
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L’art transgenre, vers d’autres expériences corporelles du temps by Luc Schicharin

“…According to our hypothesis, this visual dialectic derives from an evolutionary temporal norm appeared in the nineteenth century (with Darwin and the invention of cinema). Next, Wynne Neilly’s "Female-to-‘Male’" installation exposes the artist’s transgender "second puberty" experience, turning away from a hetero-cisnormative chronobiology focused on sexual maturity and reproduction. …”
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Les images animées au Musée de l'Homme ou la rencontre de deux mondes (1930-1950) by Alice Gallois

“…The changing attitude of the museum about the role they assigned to cinema between the 1930s and the 1950s accounts for how ambivalent the scientific community is when considering a medium which is usually devoted to fiction – in art or entertainment – while it could be of great help in studying and conveying intangible heritage.…”
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Detector Dead Time Determination and Optimal Counting Rate for a Detector Near a Spallation Source or a Subcritical Multiplying System by V. Bécares, J. Blázquez

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A Fast Numerical Method for the Calculation of the Equilibrium Isotopic Composition of a Transmutation System in an Advanced Fuel Cycle by F. Álvarez-Velarde, E. M. González-Romero

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La focalisation des conditionnelles by Gilles Corminboeuf

“…The present analysis concerns three categories of facts where if-P has a status of focus: if-clauses located within the scope of a negation or a restriction, or in cleft or pseudo-cleft constructions; if-clauses in an embedding context; and lastly, ellipsis of the Q component, as in “Et si on allait au cinéma?” [What if we went to the movies?]. From a syntactic point of view, an if-clause demands a Q component, but from an informational perspective, the reverse holds: an informative constraint makes if-P mandatory. …”
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Obca kraina by Joanna Krakowska

“… Recenzja książki Ewy Mazierskiej European Cinema and Intertextuality. History, Memory and Politics (2011). …”
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Global hip-hop culture and the scopophilic spectacle of women in South African hip-hop music videos by Ntebaleng Mpetsi, Toks Oyedemi

“…Four critical elements are adopted from Laura Mulvey’s seminal theoretical discourse about the positioning of women in narrative cinema, to study the gender representation and sexual presentation of women in two popular South African hip-hop music videos. …”
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Dispositifs à variables inconnues by Emmanuel Grimaud

“…In this context, AI and cinema are seen as two historical phases of a single plastic programme that began the day modernists decided that our eyes no longer sufficed, and that we needed to see through “an eye endowed with inhuman analytical properties” (Epstein). …”
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L’humain et l’écran, à l’écran : The Cat, the Reverend and the Slave d’Alain Della Negra et Kaori Kinoshita (2010) by Anaïs Guilet

“…It portrays three users of Second Life and offers an unprecedented view on an interfaced, mediated way of life. In the film, the cinema screen opens on the connected screen in a staging symbolizing this interface. …”
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Amateurs de comédie musicale hollywoodienne sur Internet : renouvellement d’un genre classique par les pratiques spectatorielles de l’ère numérique by Fanny Beure

“…The blogs thus prove how much the taste for cinema is a fundamental part of self-introducing for the passionate movie buffs, especially the young ones. …”
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Quantifying Women’s Marginalisation in Ibero-American Film Culture During the First Half of the Twentieth Century: A Network-Science Proposal by Ainamar Clariana-Rodagut, Alessio Cardillo

“…The research presented here uses the tools of social network analysis to empirically show a socio-cultural phenomenon already addressed by the social sciences and history: the historical marginalisation of women in the field of cinema. The novelty of our approach lies in the use of a large amount of heterogeneous historical data. …”
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2000-2015 : un âge d’or du format webdocumentaire by Michaël Bourgatte

“…However, from 2015 onwards, the web (or interactive) documentary will experience a clear downturn, which can be explained in several ways: it is technically difficult to create, share and archive; its content is generally serious or scholarly, which distances it from the commonly playful nature of cinema, but also from the most widespread uses of the web, which are essentially recreational; audiences sometimes have difficulty in understanding the proposals made to them; finally, with no economic model and therefore no commercial perspectives, funders will gradually begin to distance themselves from web (or interactive) documentaries…”
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LA FRUSTRATION IDENTITAIRE. QUELQUES IDÉES DE MIHAI MITREA-CELARIANU SUR L’ÉCOLE ROUMAINE DE COMPOSITION by Luana STAN

“…His way of writing music was largely influenced by the modern western music, the New Cinema and the New Novel (Alain Robbe-Grillet, Alain Resnais), the serialism, Karlheinz Stockhausen and the dreams theory. …”
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Kino bezpośrednie w soczewce Mirosława Przylipiaka by Ewa Mazierska

“…Autor Kina bezpośredniego krytycznie studiuje retorykę twórców direct cinema, którzy przekonywali widzów, że przed nimi żaden filmowiec nie wszedł w tak intymny związek z rzeczywistością, ale również analizuje same filmy, by dowiedzieć się, czy spełniają one obietnice ich twórców. …”
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