Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino by Paola Valentini

“…This composition strategy – a playlist, in a sense – reveals a clear authorial stamp, a signature,displaying clear elements of continuity with a form of American cinema (from Quentin Tarantino to Paul Thomas Anderson), and, at the same time, a systematic approach that differs from the majority of Italian cinema (first and foremost the work of Nanni Moretti and Paolo Virzì), which requires more prudent scholarly attention.…”
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From Uncle Tom to Nat Turner: An Overview of Slavery in American Film, 1903-2016 by Melvyn Stokes

“…It argues that the filmic construction of slavery has always been controversial. As American cinema evolved, the dominant filmic view of slavery presented it as a benign institution. …”
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German Theatre and Intercultural Cinema: A Study of the Japanese Film Adaptations of Gerhart Hauptmann’s Plays by Alex Pinar

“…In this decade studios began to shoot movies following the cinematic techniques and narrative styles of European and American cinema, and increased production of film adaptations of Western literature works popular at that time. …”
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Profit Margins: The American Silent Cinema and the Marginalization of Advertising, by Jeremy Groskopf by Jarvis Curry

“…Jeremy Groskopf’s thoughtful publication, Profit Margins: The American Silent Cinema and the Marginalization of Advertising, offers a much-needed examination of the symbiotic interplay between early American cinema and advertising from the late 1890s to the late 1920s, spotlighting how silent films served as both a reflection and a catalyst for the burgeoning advertising industry of the early twentieth century. …”
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Две сказки: Волшебник страны Оз, 1939 - Золушка, 1947 by Vladimir Paperny

“… Leading culturologist Vladimir Paperny, author of the book Culture Two, and Maya Turovskaya, a well-known film critic and co-author of the documentary film Ordinary Fascism, created a joint project in 2008 dedicated to a comparative analysis of Soviet and American cinema of the 1930s-1940s of the XX century. …”
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Outing Javier Fuentes-León’s Contracorriente and the case for a New Queer Cinema in Latin America by Vinodh Venkatesh

“…The piece proposes a reevaluation of contemporary Queer Latin American cinema through the study of Javier Fuentes-León’s Contracorriente. …”
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The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood, by Nicholas Godfrey by Ryan Sherwood

“…At a time when even Martin Scorsese cannot offer a polite critique of the Marvel industrial complex without suffering the umbrage of his fellow Hollywood elites, it is bracing to read the words of an industry insider truly, unapologetically sounding off on what he perceives to be the failures of the American cinema. In a 1972 Gallery interview, Dennis Hopper—whose 1969 directorial debut, Easy Rider, supposedly galvanised the much-mythologised New Hollywood period—shared his grim assessment of his cohort’s most celebrated work. …”
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Painting the town green – From urban teleology to urban ecology in New York cinema, 1960-present by Brady Fletcher, Cortland Rankin

“…While the Manhattan skyline dominates the New York imaginary American cinema has also consistently qualified and complicated this architecturally-determined perspective by re-imagining the city in ecological terms. …”
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Teoría del Nuevo Cine Latinoamericano: de la militancia al neobarroco by Paul A. Schroeder Rodríguez

“…This article examines the transition from militancy to neobaroque in the theory of New Latin American Cinema, by analysing manifestos and films by Fernando Birri, Glauber Rocha, Jorge Sanjinés, and Paul Leduc. …”
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Szeregowiec Ryan, czyli wojna i (a) pamięć by Paweł Stroiński

“…War and (vs) memory The analysis is concerned with the relations between representation of war in American cinema and its cultural memory based on Steven Spielberg's Saving Private Ryan (USA 1998). …”
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Feminist Film Theory: The Impact of Female Representation in Modern Movies by Wilk Katarzyna

“…In contemporary American cinema, the representation of women remains disproportionately limited despite significant social movements advocating for diversity and equality. …”
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Foule et public by Emmanuel Plasseraud

“…We can answer no, and we can think that the gap between theory and reality of the film reception is one of the reasons explaining the problems of French cinema facing American cinema. The theorical deadlock of the French conception of film reception, due to the use of the notion of crowd, appears clearly in Germaine Dulac’s writtings. …”
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Violent Landscapes by Johannes Vith

“…While serial killings, murders, and other violent deaths are traumatic incidents for the communities in which they occur, they also attract a great deal of media attention and form the basis for numerous cinematic adaptations in US-American cinema and beyond. Many of these movies employ a sensationalist approach and focus on the social environments of the killings: the perpetrator's upbringing, triggering experiences, or a generally troubled personality. …”
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Concert in the Golden Age Hollywood Cartoons by Sapegina Tatiana A.

“…A concert as a symbol of the academic musical culture was well-known to the American cinema audience. The author of the article studies how the cartoons creators rethought the main elements of a concert ceremony using both the general stereotypes related with the world of classical music and the familiar images of American life of the first half of the 20th century. …”
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Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice by Blom Ivo

“…It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. …”
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Ephemeral bodies and threshold creatures: The crisis of the adolescent rite of passage in Sofia Coppola’s THE VIRGIN SUICIDES and Gus Van Sant’s ELEPHANT by Anna Backman Rogers

“…A plethora of recent studies such as those by Gregg Merritt, John Berra, and Michael Newman focus on the very definition, and by extension the possibility, of ‘independence’ in an increasingly commercially-driven business where economic factors often take precedence over the romantic notion of artistic vision and integrity (of which American cinema of the 1970s is often viewed as exemplary). …”
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Une histoire oubliée : la genèse française du terme « film noir » dans les années 1930 et ses implications transnationales by Thomas Pillard

“…In the 1990s, North American and British scholars started to re-evaluate film noir and show that this genre was not exclusive to American cinema: in fact, Charles O’Brien revealed that the label “film noir” had first been used in France before the war to describe a group of French films that are more or less the same ones we now identify as “poetic realism”; he then went on to refer to a new tendency in post-World-War-II Hollywood cinema. …”
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DeMille and Danger: Seven Heuristic Taxonomic Categories of His Hollywood (Mis)Adventures by Anton Karl Kozlovic

“…DeMille1 was an unsung auteur, a master of the American cinema, and a seminal cofounder of both Hollywood and Paramount Pictures who was professionally enamoured with the pursuit of sensationalism, authenticity and realism for his crowd-pleasing productions. …”
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A Comparative Study of: the Allegorical and Symbolic Expression of Paradise and Hell in “Ardavirafname” and the Movie “What Dreams May Come” by Alireza Pourshabanan, Amir Hossein Pourshabanan

“…Adavirafname (narrative and prose) of Iranian literature and the movie "What Dreams May Come" is the product of American cinema, among which the allegorical journey to heaven and hell is depicted in them, and this paper attempts to analyze and answer the main question to about the allegory of this course and the function of the symbols in these works, what are the similarities and differences, and the reasons for these different interpretations in a descriptive way. …”
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21L.011 The Film Experience, Fall 2007 by Thorburn, David

“…The primary focus is on American cinema, but secondary attention is paid to works drawn from other great national traditions, such as France, Italy, and Japan. …”
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