China’s ‘CivilOlympic’ Performances and (Re)gained Global Visibility by Puppin, Giovanna

“… This article investigates how China fantasised about itself and the Beijing 2008 Olympics through the award-winning TV public service announcements (PSAs) of the Beijing Opera Series, with a focus on visibility. …”
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More 1980s than the 1980s by Mattia Merlini

“… This article analyzes the close relation between synthwave music and cinema, focusing on the role played by the former in paradigmatic films and TV series from the 1980s and the 2010s. To the two eras correspond two sets of semantic “associations,” which designate the functions and connotations embodied by synthwave in the cinematic context. …”
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Vampires and School Girls: High School Jinks on the Hellmouth by Gina Wisker

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The Human in the Age of Mechanical Reproduction: the Artificial Unconscious in Science Fiction by Emanuela Piga Bruni, Christiano Presutti

“…(1971) and Mirror Image (1972) by Isaac Asimov; the sessions carried out to establish the human or machinic nature of the investigated subject in Do Androids Dream of Electric Sheep? (1968) by Philip K. Dick and in the film Blade Runner (1982) by Ridley Scott; the dialogues between programmers and androids of the TV series Westworld (2016–) by Jonathan Nolan and Lisa Joy. …”
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L’impatto del cinema sul turismo: il fenomeno del cineturismo / The impact of cinema on tourism: the phenomenon of cine-tourism by Astrid Pellicano

“…Delle migliaia di location utilizzate da film e serie tv, solo poche decine tuttavia entrano a far parte del circuito legato al cineturismo. …”
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Cinema as a form of composition by Michele Guerra

“…Today, we are still in that position, with the director still considered the author of the film, but that was not always so: back in the 1910s, in the United States, the author of the film was the scriptwriter, the person who wrote it (as is now the case for TV series, where they have once again taken pride of place as the showrunner, the creator, the true author of the series, and nobody remembers the names of the directors of the individual episodes); or at times, it can be the producer, as was the case for a long time when the Oscar for Best Picture, for example, was accepted by the producer in their capacity as the commissioner, as the “owner” of the work. …”
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