The Villainous Pontianak? Examining Gender, Culture and Power in Malaysian Horror Films by Lee, Yuen Beng

“…Despite possessing such fearsome and horrifying characteristics, the pontianak peculiarly remains popular among Malaysians as the horror film genre has always been popular among Malaysian and Asian audiences due to its deep roots in religious and superstitious beliefs. …”
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HORROR FILMS IN UNCONSCIOUS ANTHROPOLOGICAL STRATEGIES OF BIOPOWER by S. A. Malenko, A. G. Nekita

“…And the emergence of the horror film genre in American and world cinema means abandoning the model of classical political power based on the sacralisation and rationalization of personal authority and physical coercion. …”
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Real versus ficção: criança, imagem e regimes de credibilidade no cinema-documentário Real versus fiction: child, image and credibility regimes in documentary motion pictures by Fabiana de Amorim Marcello

“…Firstly, I expose some elements of the constitution of that particular language, as well as some of the changes that were and are being made in this film genre. Then I move on to the analysis of the aforementioned films and, in particular, the way the relations of credibility derived from the images and the construction of their corresponding narratives take place. …”
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Film watching habits of journalism students from the perspective of the theory of utilities and satisfaction by Vujović Marija, Obradović Neven

“…Comedy is the most common film genre that students watch in the cinema, and the opinion o f friends and acquaintances is the most common reason for choosing a film to watch. …”
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El boom gastronómico en la gran pantalla. ¿Estamos ante un nuevo género cinematográfico? by Tatiana Hidalgo-Marí, Jesús Segarra-Saavedra, Eliseo Rodríguez-Monteagudo

“…Abstract: The study of film genres is an issue that has generated debate among academics looking for a formal definition of them. …”
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「中国宠物电影」中的生态体现和市场价值 = Chinese pet movies' ecocritical reflections and market value by 林家慧 Lim, Crystal Jia Hui

“…“Pet movie” is a new film genre that comes out of the booming pet culture in China, showing the different relationships between people and pets. …”
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The embodiment of movement in the cinematic artistic achievement in the technical style by Abdul Naser Mustafa Ibrahim

“…As for the conclusions, including that the kinetic structure is consistent with the principles and rules of that film genre and the many exciting experiences and according to the reality of cinematic production, it is a fulfillment of desires and requirements. …”
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Las semánticas de la posteridad: el cine y la matriz de las generaciones futuras Las semánticas de la posteridad: el cine y la matriz de las generaciones futuras by Pablo Francescutti

“…In this study we turn to science fiction cinema to highlight the making of that category. This film genre appears suitable for this research because one of its themes concerns the relationships between contemporary people and future Humanity. …”
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Komodifikasi Agama Pada Media Sinema Sebagai Strategi Jualan Industri Perfilman Indonesia by Dwi Haryanto

“…This study aims to prove the textual relevance between religious content as an issue or thematic commodity with biopic film content that becomes material object or to know and express the relevance of texts based on the conception of religious texts in biopic film as part of the types of religious commodification in trend of Indonesian film genre. Through a film entitled Sang Pencerah, how the religion conception developed by KH Ahmad Dahlan by way out of puritan Islamic conception in conductthe islamic values. …”
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Mundos utópicos y distópicos: el progreso y la ciencia como síntomas modernos en el cine mexicano de ciencias ficción / Utopian and Dystopian Worlds: Science and Progress as Modern... by Alejandro González Garza, Diego Zavala Scherer

“…</p><p><strong>Keywords</strong>: science fiction, Mexican cinema, modernity, postmodernity, futuristic story, myth, progress, science, hardcore sci-fi, film genre</p>…”
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Cinema de autor para pessoas com deficiência visual: a audiodescrição de O Grão Author's cinema for the visually impaired: the audiodescription of O Grão (The Grain) by Vera Lúcia Santiago Araújo

“…Two variables were considered: the type of visual impairment and the film genre. The results showed no difference in reception between the two groups analyzed, since the four participants understood and enjoyed The Grain, a film regarded as difficult by most viewers, because it is different from the typical classical narrative presented by Hollywood. …”
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Cinema de autor para pessoas com deficiência visual: a audiodescrição de o grão by Vera Lúcia Santiago Araújo

“…Two variables were considered: the type of visual impairment and the film genre. The results showed no difference in reception between the two groups analyzed, since the four participants understood and enjoyed The Grain, a film regarded as difficult by most viewers, because it is different from the typical classical narrative presented by Hollywood. …”
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Film beyond boundaries: film, migrant narratives and other media by Anelise Reich Corseuil

“…The critical perspectives here presented range from an emphasis on cultural materialism, dialogism, reception theory, deconstructionism, narrative studies to film aesthetics or film genre, and can be grouped in three major interrelated areas of film studies: adaptation studies, representation and aesthetics, and film and other media. …”
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Film beyond boundaries: film, migrant narratives and other media Film beyond boundaries: film, migrant narratives and other media by Anelise Reich Corseuil

“…The critical perspectives here presented range from an emphasis on cultural materialism, dialogism, reception theory, deconstructionism, narrative studies to film aesthetics or film genre, and can be grouped in three major interrelated areas of film studies: adaptation studies, representation and aesthetics, and film and other media. …”
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From the Margins to the Mainstream? The Eastmancolor Revolution and Challenging the Realist Canon in British Cinema by Sarah Street, Keith M. Johnston, Paul Frith, Carolyn Rickards

“…We select key film genres including the adoption of colour within the social realist film, considering whether black- and-white conventions were disrupted by the addition of colour. …”
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Film Poster Design: Understanding Film Poster Designs and the Compositional Similarities within specific genres by Sneha Pooranalingam

“…However, the analysis of composition within film posters has been insufficiently researched in the context of recognizing patterns throughout film genres. I explored four film genres and analyzed existing film posters within these genres using a visual analysis tool. …”
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La base de données LUMIERE sur les entrées des films distribués en salles: un outil pour les professionnels et les institutions, mais aussi pour les chercheurs by André Lange

“…The creation by the European Audiovisual Observatory of the LUMIERE database on admissions for films released in Europe and worldwide has since 2000 made it possible to carry out detailed studies on the distribution and circulation of works, taking into account various criteria (origin, genre or age of films, genre of directors). The article presents the history of the base, the appraisal of its operations in the publication of studies and traces prospects for possible usages for university research.…”
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“Who We Are Now”: Iñupiaq Youth <i>On the Ice</i> by Joanna Hearne

“…Reading the film through Inuit and Iñupiaq concepts and engaging with the film’s depictions of cultural syncretism, Indigenous hip hop, Iñupiaq hunting culture, and film genres, the essay argues that Iñupiaq sovereignty of the camera, as an adaptive aesthetic practice, strengthens the work and the value of traditional knowledge in a connected world.…”
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Quasi-film commercials. Analysis of selected car manufacturer campaigns by Agnieszka Barczyk-Sitkowska

“…That is reflected in references to the conventions of certain film genres, and the references to particular films. …”
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“Who We Are Now”: Iñupiaq Youth <i>On the Ice</i> by Joanna Hearne

“…Reading the film through Inuit and Iñupiaq concepts and engaging with the film’s depictions of cultural syncretism, Indigenous hip hop, Iñupiaq hunting culture, and film genres, the essay argues that Iñupiaq sovereignty of the camera, as an adaptive aesthetic practice, strengthens the work and the value of traditional knowledge in a connected world.…”
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