Censorship and Magic Tricks in Inter-War Britain by Lisa Z. Sigel

“…This paper demonstrates that between World War One and World War Two, the British state censored a variety of media including books, magazines, postcards, and films as well as engaging in public trials of obscene books that generated enormous publicity. …”
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Les documentaires politiques de Robert Greenwald : définir des nouvelles pratiques militantes à l’ère d’Internet by Delphine Letort

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Dheepan, un film postcolonial by Anthony Goreau-Ponceaud, Paul Veyret

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Split Screen Nation: Vernacular Screen Forms of the American Paradox by Susan Courtney

“…This essay introduces an eclectic history of popular U.S. film, including but well beyond Hollywood cinema, that mediated conflicted sentiments about the U.S. in the decades after the Second World War through an implicit, and sometimes explicit, opposition between the screen South and the screen West. …”
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De la « Défense sacrée » (1980-1988) à la « Défense des Lieux saints » (2012-2017) by Agnès Devictor

“…Building on a large number of movies and images, this article analyses how war imaginaries were constituted over the course of two armed conflicts in which the Islamic Republic of Iran was involved: the war against Iraq (1980-1988) – the first filmed war – and the against the Islamic State in Iraq and Syria in 2012-2017. …”
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“Justice Has a Bad Side”: Figurations of Law and Justice in 21st-Century Superhero Movies by Nicole Maruo-Schröder

“…Analyzing Suicide Squad, Batman v Superman: Dawn of Justice, and Captain America: Civil War (all released in 2016) in terms of genre, narrative as well as characters and their symbolic implications, the article shows how the films comment in ambiguous, even contradictory ways on the current terrain of justice. …”
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(De)constructing “America”: the Case of Emir Kusturica’s Arizona Dream (1993) by David Roche

“…By means of an analysis of Kusturica’s only film about America, Arizona Dream, this article argues that while the United States offers a vision of a united society founded on diversity, it also represses, altering in the process both society and the landscape. …”
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Hollywood sur la Lune : les « Scientifilms », les Pulps et l’imaginaire science-fictionnel by Jay P. Telotte

“…This essay examines how the movies, the movie industry, and a movie consciousness filtered into the pulp magazines during sf’s formative, pre-World War II era. It measures that early film/literature relationship by surveying the primary pulp magazines associated with the beginnings of sf publishing in the United States and framing them in the context that Francesco Casetti applies to early cinema when he suggests that the movies, as a pre-eminent modernist form, provided a kind of “script for reading the modern experience,” one that “not only proposed a reading of that experience, but at times imposed a pattern for its expression and communication” (5). …”
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New Orleans as the city of misfit women in Jezebel (William Wyler, 1938) and The Flame of New Orleans (René Clair, 1941) by Taïna TUHKUNEN

“…Viewed as a strikingly un-American city where cultural codes mingle and mix without, however, engendering a “melting pot”, New Orleans offers an engaging backdrop for filmic fictions challenging the archetypal romantic image of the “Old South”.This article explores two such fictional female figures who defy the vision of the pastoral South rooted in 19th century plantation novels in William Wyler’s Jezebel (1938) and The Flame of New Orleans (1941), a movie made by the French filmmaker René Clair during his exile in the United States during the Second World War. In the former, a Southern Belle named Julie Marsden (Bette Davis) transgresses the Southern honor codes, while René Clair foregrounds a dubious French Countess, Claire Ledoux (Marlene Dietrich) whose arrival disturbs the gentry of the famous harbor city. …”
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EXPORT-IMPORT RELATIONS OF SOVIET CINEMA DURING THE YEARS OF «STAGNATION» by M. Kosinova

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Le cinéma, outil d’éducation et d’enseignement de la révolution sous le régime du parti unique en Turquie by Özgür Adadağ

“…Kemalist executives, aware of the importance of cinema and wishing to make it a tool for social and political education, passed a series of laws in the 1930s and organized free screenings of films in the People's Houses. However, the leaders of the time also reinforced film control mechanisms, particularly at the beginning of the Second World War, in 1939. …”
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