Investigation of the digital technologies influence on the process transformation in cinema by Yu. V. Vorontsova, D. N. Koltsov

“…The use of digital technologies has led to the creation of high-quality films. Due to technological progress, the equipment becomes available to more participants in the film business. …”
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The Postfeminist Masquerade and the Cynical Male Gaze: The Disavowal of Sexual Difference in Lars von Trier’s Breaking the Waves by Tamas NAGYPAL

“…In a cynical move which undermines the postfeminist association of irony with freedom, the director equates Bess’s belief in God with her acting for the gaze of his camera, betraying his skepticism about a feminine subject not captured by the cinema’s patriarchal apparatus.…”
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El Madrid de la Bestia : l’apocalypse urbaine d’Álex de la Iglesia by Diane Bracco

“…Far from being reduced to a simple setting, the Spanish capital plays an essential part in Álex de la Iglesia’s second full-length film, El día de la bestia, where it is represented as an organism consumed by violence. …”
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OK Computer: Analogue Death, Digital Rebirth, and Radiohead’s Electronic Turn by Kwasu David Tembo

“…In order to provide as holistic an analysis of the theme of denouement as possible, this paper’s analysis will be predicated on questions, concepts, and ideas including but not limited to the following: the leitmotif of denouement present in the thematic influences on the album, such as the influence of the track “Exit Music (For a Film)” commissioned by director Baz Luhrmann on the rest of the album; the influence of radical analogue experimentation culled from Miles Davis’ avant-garde jazz fusion album Bitches Brew (1970); the theme of resignation, interstice, liminality, and transference/-formation in relation to the “computer syndrome” as discussed in Michael Heffernan’s “Fin de Siècle, Fin du Monde?” …”
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The Secret Life of Secret Agents: Alan Bennett and John Schlesinger’s An Englishman Abroad (1983) and A Question of Attribution (1991) by Nicole Cloarec

“…This is the challenge screenwriter Alan Bennett and director John Schlesinger have taken up in two films that form a diptych on two of the most notorious spies in British history, Guy Burgess in An Englishman Abroad (1983) and Anthony Blunt in A Question of Attribution (1991). …”
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Intersemiotic Translation: From Medieval Poetry to Modern Movie by Leila Nik Nasab

“…In the second type, called intersection, the original text retains much of its authenticity in the film. The third type is the fidelity of transformation, which means the reproduction of the important aspects of the original work in cinema. …”
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Development for Multisensor and Virtual Simulator–Based Automatic Broadcast Shooting System by Wonjun Lee, Hyung-Jun Lim, Mun Sang Kim

“…Only the video of dancers recorded during rehearsal and that produced by the lighting director via the existing broadcast filming process is overlapped in the developed simulator to assess lighting effects. …”
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Certain Death: Mike Flanagan’s Gothic Antidote to Traumatic Memory and Other Enlightenment Hang-Overs in <i>Doctor Sleep</i> by Erik Bond

“…This article uses the English Gothic’s eighteenth-century dismantling of male lineage and Enlightenment certainty in Horace Walpole’s <i>The Castle Otranto</i> as a lens for understanding the twenty-first-century commercial popularity of director Mike Flanagan’s Gothic films, particularly <i>Doctor Sleep</i>. …”
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La poule crève l’écran by Yohann Chanoir

“…This contribution highlights the fact that although chickens may appear to blend in the background when it comes to films, their roles are very well defined and carefully chosen by the director, making them the real stars of the show. …”
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« Shots in mirrors » : Les jeux de miroir dans No Country For Old Men (Coen 2007) by Julie Assouly

“…Mirrors are overexploited motifs in film and literature, whose presence scarcely goes unnoticed, begging for a symbolic interpretation. …”
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Historias de la debacle y la migración en el imaginario fílmico argentino-español by Susana Schmidt

“…In the 2001 Argentina, different film directors linked, in their fictional movies, crisis to emigration of Argentines abroad, looking for better opportunities. …”
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Transatlantic Refractions: Ambivalence and Cultural Hybridity in the Euro-American Road Movie by Jeffrey L. Meikle

“…This article analyses a variety of ways in which the “road movie” has been reinterpreted by modern European directors (German Wim Wenders, Finn Aki Kaurismäki) or American director Jim Jarmusch with his pronounced European sensibilities. …”
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Représentations du temps et de l’espace en science-fiction : du roman à l’écran by Orlane Glises de la Rivière

“…We will asking how the director does bring a new interpretation to these books through cinema. …”
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Un ejemplo clásico de suspenso cinematográfico by Lucía Gabriela Landeros Neri

“…El filme M del director austriaco Fritz Lang, ha sido objeto de numerosos estudios, en nuestro caso el interés se centró en el análisis de algunos códigos cinematográficos que tienen que ver con la fotograficidad, la movilidad, y algunos códigos sonoros en relación con su naturaleza: voces, ruidos y música. …”
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Documentaire et fiction dans Norteado de Rigoberto Perezcano by Marie-Pierre Ramouche

“…However, starting several years ago, a certain number of directors have attempted to provide a different way of looking at this difficult reality, among which Rigoberto Perezcano with his film Norteado (2009). …”
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Transcultural transformation in cinema by Yu. V. Vorontsova

“…This concept was the basis for a study of the organisational practices of director Carlos Saura, who in his last phase of his career focused on making films that offer samples of music, dance and unusual storytelling (based on the principle of “photography”) associated to the Iberian and Latin American space. …”
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Beyond the spotlight: Unveiling the gender bias curtain in movie reviews. by Jad Doughman, Wael Khreich

“…Historically, the film industry has been male-dominated both in front of and behind the camera, resulting in a longstanding gender imbalance in storytelling and representation. …”
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Les Madrilènes et les espaces de la ville : de Surcos (José Antonio Nieves Conde, 1951) à Barrio (Fernando León de Aranoa, 1998) by Marianne Bloch-Robin

“…Through six emblematic films produced throughout the second half of 20th century, we analyze how the representation of Madrid inhabitants evolves, what its functions and characteristics are in the construction of urban and suburban spaces and how it changes depending of the time frame and the singular views of the film directors.…”
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Madrid, la ciudad quimera by Bénédicte Brémard

“…In a parallel step, film directors are inspired by the real city, sometimes fantasized, sometimes nightmarish. …”
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REPERTOIRE OF CINEMAS AND AUDIENCE PREFERENCES IN THE ERA OF "STAGNATION" by M. Kosinova

“…These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. …”
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