Winston Groom's and Robert Zemeckis's forrest gump :: A Criticism on AMerican modern society by , LOLITA, Ricca, , Drs. Ahmad Wirono

A nostalgia dos anos 1950 no cinema norte-americano dos anos 1980: os casos de De volta para o futuro e Veludo azul by Laura Loguercio Cánepa, Rogério Ferraraz

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When the silent universe speaks. Testing Camus’ notion of the absurd in the alien encounters of "Contact" and "Arrival" by Shai Tubali

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Animation project stranger danger: the merging of an animation character in live action footage / Mohd Akwa Mohd Arifin by Mohd Arifin, Mohd Akwa

“…I was referring to the work of Robert Zemeckis in most of my writings. Robert Zemeckis is the director of “Who Framed Roger Rabbit”, which is one of the breakthrough film, known to making history with its hybrid live action animation traits embedded in it. …”
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The Power of Conformity: Music, Sound, and Vision in Back to the Future by Marc Priewe

“…This essay investigates the aesthetic and political functions of the choice and placement of music in Back to the Future (1985; dir. Robert Zemeckis). After an overview of the movie’s cultural contexts, the focus shifts to the interplays between sound and cinematic mise-en-scène, with a particular emphasis on popular music. …”
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“Shit happens”: Forrest Gump and historical consciousness “Shit happens”: Forrest Gump and historical consciousness by Vivian Sobchack

“…In 1994, Forrest Gump (Robert Zemeckis), the immensely popular film about a simpleton hero triumphing over (by ignoring) the vicissitudes of three decades of recent American history, was second only to Disney’s animated The Lion King at the box office.1 Indeed, that year it not only captured the hearts (if not the minds) of most Americans, but also the major Academy Awards for Best Picture, Best Director, and
 Best Actor. …”
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Deleuze's Three Syntheses Go to Hollywood: The Tripartite Cinema of Time Travel, Many Worlds and Altered States by David Deamer

“…Schaffner, 1968), The Terminator (James Cameron, 1984), and Back to the Future (Robert Zemeckis, 1985). In so doing, film and philosophy are deployed as two series which together create inexhaustible atemporal, aspatial, and ahuman disjunctions, ungrounding everyday spatio-temporal identities, and affirming productive images of cinematic thought.…”
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Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to... by Júlio Cézar Adam

“…O artigo contém quatro partes: introdução sobre a religião vivida; religião vivida no caso específico do cinema; o cinema de ficção científica como uma forma de religião; aplicação da teoria no filme “Contato” (Robert Zemeckis, USA 1997); conclusões sobre a vivência religiosa em forma de mito e rito nos filmes de ficção científica e as consequências disso para a teologia e as ciências da religião.…”
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Mr. Sandman, bring me a time machine: temporalidade, contingência e gênero em Back to the Future e Donnie Darko by Erick Felinto

“…o objetivo deste trabalho é abordar a questão da temporalidade (como fenômeno cinematográfico e cultural) a partir de dois filmes que, em suas enormes diferenças, encontram-se no terreno comum da temática da viagem no tempo e do drama/comédia adolescente: Back to the Future (Robert Zemeckis, 1985) e Donnie Darko (Richard Kelly, 2001). …”
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When the silent universe speaks. Testing Camus’ notion of the absurd in the alien encounters of "Contact" and "Arrival" by Shai Tubali

“…In this essay I analyse, side by side, two first-contact films - Robert Zemeckis' Contact (1997) and Denis Villeneuve's Arrival (2016) - to test the validity of Camus' metaphysics in a universe where human estrangement seems to be disrupted by cosmic visitors. …”
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Live Cinema: Cultures, Economies, Aesthetics, edited by Sarah Atkinson and Helen W. Kennedy by Malgorzata Bugaj

“…As Atkinson and Kennedy explain, the titular term “live cinema” is borrowed from an immersive screening of Back to the Future (Robert Zemeckis, 1985) organised by Secret Cinema which was marketed as a “Live Cinema Experience”, where the concept of “live” indicates that “something was happening in tandem with or around the screening space" (x). …”
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Lacanian Implications of Departures in Zemeckis’s Beowulf from Beowulf, the Old English Epic by Nurten Birlik

“…Although Robert Zemeckis’s film Beowulf (2007) is a re-writing of the Old English epic Beowulf with a shifting of perspective, certain details in the film can only be understood by referring to the poem. …”
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From Epic Characters to a Movie Transformation: Tracing the Journey of Beowulf from Old English Poetry to Contemporary Motion Picture by Trishita Gautam

“…Sturla Gunnarsson’s Grendel and Beowulf (2005) and Robert Zemeckis’ Beowulf (2007) are well-directed movies based on this famous epic. …”
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Consumo, quadrinhos e cinema: a transposição do filme De volta para o futuro para as narrativas gráficas da Turma da Mônica by Rafael Jose Bona

“…Os objetos de estudo foram as ediçõesDe volta para a historinha (Revista Cebolinha, de 1991) e Coelhada para o futuro (Clássicos do cinema - Turma da Mônica, de 2013) que parodiam o filme sobre viagens no tempo, De volta para o futuro (Back to the future, 1985), do diretor Robert Zemeckis. A pesquisa é classificada como descritiva, com abordagem qualitativa. …”
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Contato by Ivy Judensnaider, Fernando Santiago dos Santos, Silvia Fernanda de Mendonça Figueirôa

“…Analisa-se o filme Contato, de Robert Zemeckis (1997), a partir de análise documental e de bibliografia prévia sobre o filme, como subsídio para a discussão de estereótipos sobre a figura feminina, historicamente construídos, que persistem, menos nos meios acadêmicos de ciência mas, sobretudo, na sociedade em geral.  …”
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