Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky by Gabriele

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Virtual Immersive Models for Viewing Social Science Fiction in European Cinema by Federico O. Oppedisano, Daniele Rossi

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Le cinéma américain : un impérialisme culturel ? by Nathalie Dupont

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Obca kraina by Joanna Krakowska

“… Recenzja książki Ewy Mazierskiej European Cinema and Intertextuality. History, Memory and Politics (2011). …”
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Marketing auteurism: the vanishing industry model behind Pedro Almodóvar’s success in the US by Jennifer Green

“…Almodóvar’s typical production-distribution structure and exportable filmmaking style are outlined, as are his US distributor’s strategic use of specialised press, elite events and targeted marketing of arthouse audiences with a specific cultural capital and an established view of European cinema. Methodology: The article focuses on qualitative research, supported by quantitative box office data, to analyse Almodóvar’s reach in the US and to study influences and trends in the North American market. …”
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Gender (im)balance in the Russian cinema: on the screen and behind the camera by Xenia Leontyeva, Olessia Koltsova, Deb Verhoeven

“…We collected a unique dataset (N=1285) of all films released during the pre-pandemic decade (2008-2019) in Russia – at that time the largest European cinema market. A marked-up subset of 243 films was used to calculate a novel version of the Bechdel-Wallace test that accounts for the proportion of all non-stereotypical dialogues in the film narration, as opposed to the classical binary test. …”
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Film Industry at the Service of EU Identity Politics by E. V. Khakhalkina, A. V. Vyachistaya

“…Metz).The article analyzes how the EU has intensified its institutional support and promotion of European cinema, particularly in response to the «crisis of ideas» in Hollywood, which has left a void in the global film market. …”
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