Performative place as memory space. Fabio Mauri, "Che cos'è il fascismo" and "Ebrea", 1971 by Laura Iamurri

“…The first is a complex action, a real show with many actors and a disciplined audience within a series of tribunes set up in a film studio. The other takes place in the smaller scale of a private gallery, and features just one actress who plays her performance. …”
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FORMULATION OF CINEMATOGRAPHIC EDUCATION IN ODESSA: PAGES OF «SILUETS» JOURNAL (1922–1925) by Г. І. Шульга

“…An entire section covered the cinematic activity in Odessa and the Ukrainian SSR (headings «Cinema Front», «At the Odessa Film Studio», «Cinema-technical school »...). For example, we find publications contained the information about in which films will be used the students, where they will go to the internship, how much they receive scholarships, which subjects they will learn, who can be matriculated to the college, how many students have graduated, etc. …”
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The Adventures of Road Workers (1974–1980): National Specificity of the Georgian Trio by Evallyo Violetta D.

“…The author focuses on a series of short films about road workers, created in 1974–1980 by different directors of the Georgia Film studio based on the scripts by Rezo Gabriadze. …”
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Confluence: A Seminar Series as a Teaching Tool by Bryan M. Dewsbury, Amy Reid, Ophelia Weeks

“…The interview is videotaped in front of a live student-only audience in a film studio on campus. The recording is published on the series’ website (http://qbic.fiu. edu/confluence). …”
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А. Khanzhonkov and Co Joint-Stock Company and its competitors in Russia by Aleksandr A. Bessolitsyn

“…The attempt to transfer the company’s activities to the Crimea in connection with the construction of a new Yalta film studio was not successful, primarily due to the deterioration of the overall political and economic situation in the country.…”
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马来亚化华语电影 ：以张莱莱和《马来亚狂恋》为例 = Malayanization of Chinese-language cinema : study of Chang Lye Lye and my love in Malaya by 黄玉君 Wong, Yoke Kuan

“…She was influenced by Singapore filmmaker, Yi Sui who started the campaign of Malayanization of Chinese-Language Cinema that encourage local film studio to produce their own Chinese movies in Malaya, using only local actors and plot that reflect the life of Malaya. …”
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有关导演侯曜与尹海灵的研究考察 = The case study of Director Hou Yao and Wan Hoi Ling by 郑伊婷 Tay, Ee Teng

“…As Singapore only built its own film studio during that period of time, Hou Yao and Wan Hoi Ling became the pioneer directors to produce Singapore’s local films. …”
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The Prison Ward, Film Space and Memory Place in the Spanish Cinema by José Luis Sánchez Noriega

“…In this paper we consider the combination of three issues, which also separately, have a significant interest from both academic research and film studios as from the historiographical studies. First, consideration of the role of women in past events, i.e. women as historical subject and, at the same time as a film subject; secondly, prison as a space of historical interest (social, political) as “place of memory”; and thirdly, the approach to works of a cycle scarcely cultivated by Spanish film and movies such as stories and performances that mostly take place in prisons: the prison film. …”
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Ritratto fotografico degli attori a Milano tra Otto e Novecento. Strategie di rappresentazione by Silvia Paoli

“…This essay focuses on some important Milanese photographic studios devoted to portraying stage actors and to theatrical perfomances and scenographies – also in the first film studios – such as Varischi & Artico, Emilio Sommariva, Gigi Bassani, Mario Castagneri, Leopoldo Metlicovitz, Luca Comerio. …”
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Berlin in Television Drama Series: A Mediated Space by Susanne Eichner, Lothar Mikos

“…Since the early days of film Berlin and the film studios in its suburbs was an important site of production. …”
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Transcultural Film Adaptations as Cross-Cultural Dialogue by Anna Boginskaya

“…The book was adapted in 1965 by British director David Lean, who cooperated with one of the largest American film studios, Metro-Goldwyn-Mayer. This work considers the changing meaning of the text, which enters a new national culture, and explores how Pasternak’s novel was changed to fit the new audience. …”
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Fan (Fiction) Acting on Media and the Politics of Appropriation by Wolfgang Reißmann, Moritz Stock, Svenja Kaiser, Vanessa Isenberg, Jörg-Uwe Nieland

“…Third parties, ranging from the media industry (e.g., film studios) and copyright holders to journalism and academia, are interested in fanfiction and are following its development. …”
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Cambriolage moderne. Pathé, la troupe des Price et la tradition de la pantomime anglaise by Stéphane Tralongo

“…The trial that resulted from Pathé’s infringement of one such copyright thus provides rare and detailed insight into the processes by which early film studios reproduced spectacular performances by some of the most renowned stage artists. …”
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The potential of new media on film poster in Malaysia / Muhammad Ashraf Omar by Omar, Muhammad Ashraf

“…Movie posters are promotional items created by film studios to advertise feature films. The theaters currently screening the movie use oversized posters on outside marquees to attract customers, while smaller posters are placed outside each showing room. …”
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Incest: Honor thy father, brother / Felicia Ferdinand... [et al...] by Ferdinand, Felicia, Ahmin, Irene, Liun, Julin, M Cyrillus, Judith, Flavinus, Naomi

“…Increasing public awareness of Incest and child sexual abuse through media coverage, documentaries, films, studio discussion programs and setting up of children in the United Kingdom has focused attention on the many children who suffer from the unwanted sexual attention of fathers, mothers, stepfathers, grandfathers grandmothers, brothers, aunts, uncles, cousins, friends of the family, neighbors or youth leader, as well as other male or female authority figures. …”
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THE CREATIVE UNIVERSE OF T. LEVCHUK’S CINEMATOGRAPHY DURING THE KHRUSHCHEV’S THAW by Olena Sokol

“…Karpenko-Kary Theatre, Cinema and Television University, the collections of the Museum of the Dovzhenko Film Studios, critical articles and reviews published in periodicals, and memoirs. …”
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Strategie enunciative nel discorso cinematografico europeo degli anni Cinquanta by Lorenza Di Francesco

“…They succeeded in their intention because within a short while, Anderson and Godard acquired acclaim on the European film-making scene and were therefore able, thanks to economic support from institutions, film studios and film distributors, to explore and develop subjects and themes that Free Cinema and Nouvelle Vague had introduced.…”
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Changing tune in Woodstock: Creative industries and local urban development in Cape Town, South Africa by Laura Wenz

“…Travelling alongside is a property sector geared towards catering specifically for the creative industries’ spatial demands by turning old industrial structures – the remains of Woodstock’s former capacity as national hub for clothing, food processing and other light manufacturing – into creative centres hosting international film studios, leading galleries and designer ‘theatre retail spaces’. …”
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"Ho ritrovato mio figlio" (1954) di Elio Piccon, il "primo film per ragazzi" prodotto dalla San Paolo Film by Fabrizio Natalini

“…The educational aim of the film is confirmed in the documents of the Archivio Centrale dello Stato, which moreover reveal how San Paolo Film presented Ho ritrovato mio figlio as the first Italian educational film in order to bypass the current legislation on film studios. This film remains an isolated instance, since San Paolo Film decided, from 1953, to try to distribute foreign films as a more economically-convenient solution.…”
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The Enemy with Human Face? Rehumanization of the Images of Americans in the Soviet Thaw Cinema by Oleg Riabov

“…The materials consist of the movies on which Soviet cinematography worked in the early 1960s; reviews in film magazines; and archival data of discussions on movies and their scenarios that took place in film studios. Analysis. Specifics of the dehumanization of ‘enemy number one’ in Soviet cinema. …”
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