La cabane éclatée. Morcellement des objets immobiliers apparentés à l’art brut by Roberta Trapani

“…In the early 1930s, Jacques Brunius (1906-1967), poet and filmmaker, introduced the remarkable architecture of a rural postman from Hauterives, Ferdinand Cheval (1836-1924), to the surrealist group. …”
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«Pasa la vida»: Cartografías Urbanas de Madrid en la Post-Transición (1982-1994) by Vicente Rodríguez Ortega

“…From the late 1980s to the mid 1990s, filmmakers tackle a social fabric characterized by a «presentism» that leaves behind a productive commitment to recent Spanish history and the capacity of the citizenry to decisively intervene within the constitutive pillars of social reality. …”
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Transfer of Ideological Stances through Stylistic Choices in Translation: The Case of the Persian Subtitle of The Matrix by Sima Imani, Jalil Jalali

“…Nevertheless, stylistic choices of the subtitler could reveal the ideologies of the translator and filmmakers. Subtitling in Iran is mainly performed by fans, and their subtitles are widely used on various unauthorized websites. …”
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The Making-of Documentary: An Approximation to some Discourse Intentions and Contemporary Uses by Armando Andrade Zamarripa

“…In the first, its contemporary definition is proposed; In the following, we establish the distinction between the Making-of Documentary and its predecessors or other contemporary practices; Lastly, we approach its discursive intentions — as a promotional object of the film which it alludes to and of its filmmakers as “authors” — and its current uses, which promote an expansion of cinephilia and self- learning in the viewers. …”
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Kitsch, classes sociales et multiculturalisme dans My Beautiful Laundrette (Stephen Frears, 1985) by Lionel Souquet

“…In 1985, My Beautiful Laundrette was the movie which earned Stephen Frears full recognition as a filmmaker. Despite a low budget he brought his trademark boldness to Anglo-Pakistani writer Hanif Kureishi’s screenplay. …”
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La Palestine comme écran, ou comment passer « de l’autre côté du miroir » by Laure Fourest

“…Working on Palestinian film production amounts to exploring how filmmakers deal with the numerous representations of their land and people such as they are produced by Others, whether Israelis or Westerners. …”
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Representación del indígena en el cine venezolano: Contrastando estereotipos: entre ficciones y realidades by Emperatriz  Arreaza  Camero

“…The objective of this paper is to know the image of the indigenous communities in the Venezuelan cinema (1998-2008), and the representation of these ethnics groups, through the definition of “national identity” in contemporary Venezuela, especially since the struggles of the indigenous people for their cultural and ethnic survival, their defense of their land, and their political and economic self-determination.It is important to remember that in 1968, during the first government of Rafael Caldera (1969-1974), the country began a “new indigenous policy”, in the midst of the economic desarrollista model implanted for this government, called the conquest of the South [la Conquista del Sur], which also allowed a new ethnographic and socio-anthropological approach to the indigenous communities, from different filmmakers formed in Venezuela and abroad. This paper presents a preliminary film inventory of this filmography, as a representative example of fictional films and documentaries, with indigenous theme, to know the representation of this population in the current Venezuelan “audiovisual imagery”, during this particular time.…”
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Adebáyọ̀ Fálétí: The Passing of a Cultural Icon by Akin Adeṣọkan

“…Walking out the building with cultural critic Toyin Akinosho at the end of a visit with the filmmaker Tunde Kelani, I also find it quite chastening.   …”
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Remote Control: Censoring Diasporic Identities in Atom Egoyan’s Films by Jean-François Baillon

“…The theme of censorship in its various guises, through the recurrent trope of smuggling and the illicit crossing of boundaries watched over by literal and figurative variations on the figure of the censor, is central to an approach to the films and is shared with other diasporic filmmakers. The allegories of censorship that pervade Egoyan’s films testify to the diasporic condition as split selves are torn between several conflicting agendas and these creative tensions in turn surface as dynamic inspiration for the films. …”
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Une « drôle de guerre » à l’écran : Khalkhin Gol by Alexandre Sumpf

“…Shot in 1939 in Mongolia and edited in Moscow by documentary filmmaker Ilya Kopalin, Khalkhin Gol recounts the achievements of the Red Army and its commander General Zhukov in the struggle against the Japanese enemy. …”
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Shakespeare à l’écran : Makibefo d’Alexander Abela, un exemple extrême d’appropriation culturelle by Anne-Marie Costantini-Cornède

“…By transposing the play Macbeth to an unusual context, a poor fishermen’s village lost at the other end of the world, the filmmaker means to enhance its mythic and universal dimension. …”
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Žáner — prekliatie a požehnanie slovenského filmu by Juraj Malíček

“…This study presents key film works of Slovak cinema in the context of its development from the establishment of the independent Slovak Republic to the present day, with an emphasis on the increasingly prevalent inclination of Slovak filmmakers towards so-called genre film. The fact that Slovak cinema seems to have everything — except for an audience — can be considered a long-standing and persistent problem, but it does not explain the entire state of affairs. …”
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Cinema and city placement of Porto: from Manoel de Oliveira to Gabe Klinger by Xosé Somoza Medina

“…This article analyses the relationship between cinema and the city of Porto, from the first film episodes to the co-financing by the local Film Commission of the film Porto, by Brazilian-born filmmaker Gabe Klinger. The study contrasts the way in which local director Manoel de Oliveira projected the city of Porto in his works, with the objective and qualitative analysis of Gabe Klinger’s film. …”
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Faire obstacle à la vérité et tromper les attentes : Hitchcock et Wilder comme on les connaît peu by Julie Michot

“…Both movies appear to highlight the flaws in the English judicial system—since the action takes place in London—while in fact it is clear that the filmmakers’ judgment is much wider and also applies to their adopted country, the USA. …”
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Documenting the Social and Historical Margins in the Films of Philip Donnellan by Ieuan Franklin

“…He created a space within his films that would allow them to speak for themselves without any overt intercession from the authorial tones and spurious objectivity of the filmmaker or the BBC. More than a document of the contemporary condition of the marginalized however, Donnellan’s films persistently convey a sense of the weight of history, exploring memory and archival evidence in order to pose difficult questions about the construction of history. …”
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L’œuvre d’Alan Berliner ou l’autobiographie comme l’affaire de tous by Jean-Luc Lioult

“…Alan Berliner is a fascinating, unclassifiable independent filmmaker who has devoted 25 years to the making of films which have led him from a reflection on family in general to the questioning of his own family, then to an interrogation on identity and finally to his self-portrayal as an artist. …”
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Looking for “I”: Casting the Unnamed Heroine in Alfred Hitchcock and David O. Selznick’s Adaptation of Rebecca by Milan Hain

“…This article considers the lengthy process of casting the unnamed female protagonist in the first film version of Daphne Du Maurier’s Rebecca in light of the more general adaptation strategies employed by the filmmakers, particularly the independent producer David O. …”
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“Somewhere in California”: New Regional Spaces of Mobility in Contemporary Vancouver Cinema by Katherine A. Roberts

“…The cinema of award-winning Vancouver auteur filmmaker Carl Bessai is illustrative of this phenomenon. …”
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Challenging Islamophobia through Intermediality: Anida Yoeu Ali’s Performance Art by Martina Pfeiler

“…The first work is titled 1700% Project: Mistaken for Muslim (2010), a performance poetry clip that was directed by the Japanese American filmmaker Masahiro Sugano in 2010 and which widely circulates on the Internet. …”
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Documentary film politics and the politics of documentary film by Lieza Louw

“…The film deals with the days leading up to the final and tragic outcome of strike action by miners at a time when the print media predicated the state and the mine owners’ points of view. The filmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice for the mine workers by offering his personal reaction to the deaths of the 34 black men by interviews and archival material. …”
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