Ivan IV. – Kindheit und Jugend des „schrecklichen“ Zaren. Eine Untersuchung der Darstellung des jungen Zaren in der Frühen Neuzeit und die Beeinflussung des Geschichtsbewusstseins... by Jelena Menderetska

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Reframing Perspectives: Analyzing the Evolution of Female Film-making Through Critical and Reconciliatory Lenses of History Perspective by He Zhang, Xiaoli Yin

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De l’inévitable retour de la légende du vieux Sud : 12 Years a Slave (Steve McQueen, 2014), vers une revision du film de plantation hollywoodien ? by Maureen Lepers

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Graphic Sign Translations in Films from the 40s. A Collection of Images Made by Ramón de Baños by MARÍA BEGOÑA SÁNCHEZ GALÁN

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Understanding Medium in the Early and Classical Film Theory by Krunoslav Lučić

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Cinema e linguaggio cinematografico nella prosa di Nabokov a Berlino (1922-1937) by Dunja Dogo

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Postmodern Philosophy and the Impact of the Other in Jim Jarmusch's Films by Rajko Petković, Krešimir Vuković

“…Although film history has mostly been understood in national terms, there have also been attempts to present a general history of film styles. The history of film styles can be roughly divided into four distinct phases, each drawing on different aspects of narration. …”
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Crossing Borders in Film Theory and Adaptation Studies by Cezar Gheorghe

“…The history of film theory is full of what we might call migrating concepts. …”
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Acknowledgment - No Knowledge Without It: Introduction to William Rothman and his Work by Alan Cholodenko

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Le documentaire muet au Brésil : la critique désire et l’image montre by Eduardo Morettin

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Théorie de la communication versus Structuralisme.Sur la notion de communication by Christian Metz

“…Responding to an article published by Günther Bentele, Metz reconsiders the history of film semiology and its main orientations all the while offering a critique of approaches that favor communication theory.…”
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21H.150J / 21F.043J Introduction to Asian American Studies: Literature, Culture, & Historical Experience, Fall 2002 by Anonymous

“…An interdisciplinary subject that draws on literature, history, anthropology, film, and cultural studies to examine the experiences of Asian Americans in US society. …”
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Destroyed Statues, a Bolex 16 mm Camera, and an Old Jeep: The Traces of History in FLAT TYRE by Li-An Ko

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Applying Alain Bergala’s ‘three-phase’ model to the history and development of film education in Slovenia by Petra Slatinšek

“…This article uses the three-phase model proposed by Alain Bergala to explain the history and development of film education in France as a sympathetic framework through which to illuminate a double history of film education, first in Yugoslavia, and more recently in Slovenia. …”
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Occult Communications: On Instrumentation, Esotericism, and Epistemology by Bernard Dionysius Geoghegan

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‘Not Approved for Screening’: Political Film Censorship in West Germany by the Interministerieller Ausschuss für Ost/West-Filmfragen by Kötzing, Andreas

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From Sacred Text to Internet / by Beckerlegge, Gwilym, editor

Le vestige et la ruine dans Few of us (1996) de Sharunas Bartas : les ornements sonores de l’oubli d’un peuple disparaissant by Sylvain Louet

“…This people consists of about seven hundred people, formerly nomadic, now sedentary, forgotten by the world and perhaps partly oblivious to its own culture, forgetful to its own history. The film is primarily characterized by an unusual writing that highlights the silence and the mutism of the characters. …”
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Locating the Storyteller in Silent Waters: Sabiha Sumar’s Cinematic Tale of Shared Histories and Divided Identities by Rahat Imran

“…Examining Silent Waters as an example of “history on film/film on history” (Rosenstone 2013), and film as an “agent, product, and source of history”  (Ferro 1983), the discussion identifies and analyzes the filmmaker’s  own tacitly embedded location and participation in the filmic narrative as an experiential  ‘auto/bio-historiographer’, arguing for the value of this new paradigm in Cinema Studies.…”
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Prima del film. "Ephemeralia" del regista e storia materiale della produzione by Andrea Mariani

“…It begins with the belief that, to focus attention on these kinds of materials can offer a better understanding of certain, crucial nodes of film production and development practices; and furthermore that it can unveil elements of the theory and methodology of writing the history of film production and development. For instance, the use of ephemeral media as meta-history, where the “maker” leaves traces of his/her productive activity. …”
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