Film routes in Basilicata by Delio Colangelo

“…Since the end of the Second World War, the Basilicata region has been a film location; more than forty full length movies have been shot in Basilicata. …”
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THE EXORCISM DESCRIBED IN JAMES WAN'S FILM THE CONJURING by Haryati Sulistyorini

“…The object used here is a horror film, since the whole tension of the story is about misery and haunted. …”
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Representasi Nilai Posfeminisme Dalam Film Nasional (Analisis Semiotika Tentang Nilai Posfeminisme Pada Film Mereka Bilang Saya Monyet!) by , Verani Indiarma, , Dr. phil. Ana Nadhya Abrar, M.E.S

“…Thus, this research found an athithesis which concluded that MBSM! as a film simply offers a new label for an age-old phenomenon, similar to feminist cinema in modern era that depicted women as weak and fragile being as subjects of misery.…”

A False Start. The Filming at Theresienstadt of January 20, 1944 by Karel Margry

“…The article  presents the only remaining visual images of the shooting but, because of misinformation provided by the cameraman who preserved them, these 18 film stills have for decades been wrongly thought to be secretly made images showing the true misery of the ghetto rather than what they actually were: deliberate products of Nazi propaganda. …”
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Real, Reel and the Anthropocene: Eco-trauma Testimonies in the Film Valiya Chirakulla Pakshikal by Bibin Thomas, Reju George Mathew

“…The film situates the Endosulfan disaster amongst the global movements against the pesticides and emphasises the need of a healthy environment.…”
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Late Bergman: The Lived Experience of the Absence of God in Faithless and Saraband by Thomas Hibbs

“…Acclaimed as one of the great filmmakers of the 20th century, Ingmar Bergman is for many an arch-modernist, whose work is characterized by a high degree of self-conscious artistry and by dark, even nihilistic themes. Film critics increasingly identify him as a kind of philosopher of the human condition, especially of the dislocations and misery of the modern human condition. …”
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Semantic functions of repetitive synthesis in Adnan al-Sayegh's poetry by Zainab Daryanavard, Rasoul Balavi, Ali Khezri

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Painful portraits : responding to AIDS in Africa through humanistic engagement of images. by Yong, Hui Ying.

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Dérives dans le Raval by Jacques Terrasa

“…In between, in the center of the film, lays all the loneliness and misery of the left behind by a world eager for speculation, shown by the wandering of Antonio – the ancient sailor – in the ruins of the deserted Raval. …”
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No way home: silence, slowness and the problem of authenticity in the cinema of Lisandro Alonso by Roberto Cavallini

“…From a comparative view, the key to understanding these introverted trajectories is to consider Alonso’s construction of narrative space around the misery of a stark void, namely the absence of home. …”
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Il paesaggio di Matera nell'interpretazione cinematografica / Matera landscape in the cinematographic interpretation by Angelo Bencivenga, Livio Chiarullo, Delio Colangelo

“…Since the end of the Second World War, the Basilicata region has been a film location; more than forty full length movies have been shot in Basilicata. …”
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“Born Out of Crisis, Buried by Catastrophe”: Central Europe as a Project Doomed to Failure by Weronika Parfianowicz

“… In her paper, the author examines images of Central Europe created in various popular genres (campus novels, quasi-guidebooks, films, essays) as well as interpretations of the Central European myth from countries of the region. …”
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World heat impact and its importance for Latin america by Juan Manuel Sánchez-Yáñez

“…This is an apocalyptic view due natural resources lost and depredation as consequence we face poverty, misery, diseases and social unbalance. This unlucky reality in Latin america has been showed in some science fiction films like well known “The solyent green”. …”
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Bresson, Becker, Audiard e la dimensione del carcere. Annotazioni su Un condamné à mort s’est échappé (1956), Le Trou (1960) e Un Prophète (2009) by Roberto Chiesi

“…Un condamné à mort s’est échappé or Le vent souffle ou il veut (1956), by Robert Bresson, Le Trou (1960) by Jacques Becker and Un Prophète (2009) by Jacques Audiard, are three films where the prison dimension is not a narrative device at the service of striking and adventurous actions, but constitutes a universe where we witness the radicalization of some human dynamics, a form of dramatic condensation that it reveals the qualities, potentials and miseries of human beings, thanks to the conditions of coercion and the claustrophobia in which the characters are forced to live.…”
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