Salas de cine en Bogotá (1897-1940): la arquitectura como símbolo de modernización del espacio urbano by Andrés Avila Gómez, Alfredo Montaño Bello

“…This analysis mainly covers the period from the first performance (Teatro Municipal, 1897), through to the opening of the first theater built to house film performances (Salón Olympia, 1912), it also includes the coexistence of multiple forms of film exhibition with other leisure activities of Bogota´s society (Teatro Faenza, 1924), up until the last two large halls built in the central area of the city -Bogotá went from 121,000 to 326.000 inhabitants- (Teatro San Jorge, Teatro Colombia 1938 and 1940 were inaugurated) and other important theaters appear in the periphery (Teatro El Parque, 1936; Teatro Teusaquillo, 1938).…”
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The Mechanics of Fear: Organic Haunted Houses in American Cinema by Anne-Marie Paquet-Deyris

“…In this respect, even though a direct descendant of a more conventional haunted house film genre, the 1980s family horror imposes a reversal of viewpoints. …”
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Répliques par l’actrice, répliques d’une actrice : Delphine Seyrig dansLe Troisième Concerto (1963) et Le Lys dans la vallée (1970) by Alexandre Moussa

“…This article intends to determine how the presence of the same actress, Delphine Seyrig, allows to consider two TV fictions directed by Marcel Cravenne, The Third Concerto (1963) and Lily in the Valley (1970) as respective replicas of two art-house films: Last Year in Marienbad (Alain Resnais, 1961) and Stolen Kisses (François Truffaut, 1968). …”
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