La inglesa y el duque (Eric Rohmer) by Jesús Miguel Sáez-González

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La música en el realisme cinematogràfic d’Eric Rohmer by Xavier Hernàndez i Garcia

Subjects: “…Assaig | Música | Cinema | Eric Rohmer | Interdisciplinarietat | Realisme…”
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Les Amours d'Astree et de Celadon (Eric Rohmer) by Jesús Miguel Sáez-González

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Truth, Beauty and Goodness: Freedom and the Platonic Triad in Eric Rohmer’s Film Theory by Hanne Schelstraete

Subjects: “…Eric Rohmer…”
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El cine de Mar Coll: herencias catalanas de Eric Rohmer by Álvaro Martín Sanz

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Les Amours d’Astrée et de Céladon. Film d’Éric Rohmer (2007) by Tony Gheeraert

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A escola francesa de som direto: Jean-Pierre Ruh e Éric Rohmer by Sérgio Puccini

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Lo straniamento ingenuo<br><i>Perceval le Gallois</i> di Eric Rohmer by Stella Dagna

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Música como trajetória moderna: argumento do filme “O Signo do Leão” (1959-1962) de Éric Rohmer by Marina Takami

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Análisis temático de Contes des quatre saisons by Teresa Nozal

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Distance and Involvement : Visualising History in Patrice Chéreau's La Reine Margot (1994) and in Éric Rohmer's L'Anglaise et le duc (2001) by Margriet Hoogvliet

“…This article analyses strategies of visualisation of the past in two French films d'histoire: La Reine Margot (1994) by directed by Patrice Chéreau and L'Anglaise et le duc (2001) by Éric Rohmer. Both films have modern political and societal implications: Chéreau's film contains several clear hints towards a reading of the “greatest massacre” of France's past as a critique of the modern era, while Rohmer rather wanted to make his audience aware of the ambiguities of the founding period of the French Republic. …”
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Distance and Involvement : Visualising History in Patrice Chéreau's La Reine Margot (1994) and in Éric Rohmer's L'Anglaise et le duc (2001) by Margriet Hoogvliet

“…This article analyses strategies of visualisation of the past in two French films d'histoire: La Reine Margot (1994) by directed by Patrice Chéreau and L'Anglaise et le duc (2001) by Éric Rohmer. Both films have modern political and societal implications: Chéreau's film contains several clear hints towards a reading of the “greatest massacre” of France's past as a critique of the modern era, while Rohmer rather wanted to make his audience aware of the ambiguities of the founding period of the French Republic. …”
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Distance and Involvement : Visualising History in Patrice Chéreau's La Reine Margot (1994) and in Éric Rohmer's L'Anglaise et le duc (2001) by Margriet Hoogvliet

“…This article analyses strategies of visualisation of the past in two French films d'histoire: La Reine Margot (1994) by directed by Patrice Chéreau and L'Anglaise et le duc (2001) by Éric Rohmer. Both films have modern political and societal implications: Chéreau's film contains several clear hints towards a reading of the “greatest massacre” of France's past as a critique of the modern era, while Rohmer rather wanted to make his audience aware of the ambiguities of the founding period of the French Republic. …”
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El cine y las potencias de lo engañoso. En torno a Die Marquise von O, de Éric Rohmer by Jesús Vega Encabo

“…En este artículo, reflexiono sobre la naturaleza de la imagen cinematográfica a partir del análisis de una de las películas de Éric Rohmer, Die Marquise von O, y los propios escritos teóricos del cineasta francés. …”
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Politesse, impolitesse, auto-politesse: Janus revisité by Carmen Alberdi Urquizu

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De la palabra del héroe a la feminidad o del pensamiento al deseo. Una relectura de los “Cuentos morales” de Éric Rohmer by Arnau Vilaró i Moncasí

Subjects: “…Éric Rohmer…”
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Verdades e Mentiras num sentido extra-político by Virginia Figueiredo, Rozângela Gontijo

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Sobre a noção de três espaços no cinema. by Cristian Borges

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Conte d’été de Eric Rhomer: claves de interpretación narratológica, espacio-temporal y temática by Teresa Nozal Cantarero, Efrén Cuevas Álvarez

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Le Cinéma à l’épreuve des représentations médiévales : l’enluminure et le théâtre : Perceval le Gallois, d'Éric Rohmer et Henry V, de Laurence Olivier by Corneliu Dragomirescu

“…Parmi celles-ci, se trouvent des références au théâtre et aux arts visuels, en particulier les enluminures, avec lesquelles certains cinéastes ont complètement transformé l'univers visuel du cinéma : tel est le cas d'Éric Rohmer (Perceval le Gallois) et Laurence Olivier (Henry V). …”
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