Claroscura Representation: An Audio-visual and Theoretical Exploration of the Representation of the Past Through Documentary Filmmaking by Gerrit Stollbrock Trujillo

Get full text

“When I finished my film, I realized that people really needed me there”: the transformative power of Collaborative Filmmaking by Jessica G. Burke, Annika Agarwal, Mihaja Raonivololona, Tahiry Anjarasoa, Laura Leeson, Sara Baumann

Subjects: Get full text

Reconstructing the Past and the Present: The Ethnographic Films Made by the Estonian National Museum (1961–1989) by Liivo Niglas, Eva Toulouze

Subjects: Get full text

Review of Méliès to 3D: the Cinema Machine exhibition at the Cinémathèque de Paris (October 5th-January 29th, 2017) by David Lipson

Subjects: Get full text

Rolprent, Televisie en die Omgewing by Pieter Jacobus Fourie

Subjects: Get full text

STUDENT CREATED VIDEOS IN ENGLISH LANGUAGE TEACHING by I. E. ABRAMOVA, O. M. SHEREKHOVA, E. P. SHISHMOLINA

Subjects: Get full text

Investigation of the digital technologies influence on the process transformation in cinema by Yu. V. Vorontsova, D. N. Koltsov

Subjects: Get full text

Transcultural transformation in cinema by Yu. V. Vorontsova

Subjects: Get full text

Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films by Elise Pereira Nunes

“…The illicit, controversial topics addressed in his early movies, traditionally brought up by exploitation in order to attract audiences whose voyeuristic desires would not be fulfilled by Hollywood’s promotion of moral standards, have predictably put him at the margins of mainstream movie culture. Many exploitation filmmakers have had a strong impact on the filmmaker’s aesthetics and politics—among them, American filmmaker Russ Meyer, a master of sexploitation, whose strong female characters inspired the creation of Waters’s lead female heroines embodied by American drag queen Divine. …”
Get full text

Sankofa (Haile Gerima, 1993) : la mémoire de l’esclavage dans la conscience diasporique by Delphine Letort

“…Based on an original script, written by the filmmaker himself, Sankofa is a slave narrative which, however, has no historical value since it was developed through creative writing. …”
Get full text

Die Laaste Woord by Manie van Rensburg

Get full text

Donald Barthelme’s “Report” and Michal Rovner’s Decoy series, or the Ongoing Art of Telling It Slant by Sandrine Dechaume

“…This article examines how two contemporary artists, American writer Donald Barthelme and Israeli filmmaker and photographer Michal Rovner use overexposure in order to denounce forms of televisual “brain damage.” …”
Get full text

Une guerre en marge by Victor Barbat

“…In September 1938, filmmaker Roman Karmen went to China to cover the second Sino-Japanese War. …”
Get full text

Aller, revenir, tisser un abri : Route One/USA, de Robert Kramer (1989) by Gilles Chamerois

“…Mixing as usual documentary and fiction, the American filmmaker examines the country at the eve of the 1988 general elections. …”
Get full text

Los conflictos del documental español: el caso de Basilio Martín Patino by Manuel de la Fuente

“…Spanish filmmaker Basilio Martín Patino’s documentaries show a number of textual and political issues and conflicts. …”
Get full text

À l’écoute des adaptations de Madame Bovary by Mary Donaldson-Evans

“…Theoretically, there is nothing easier for the filmmaker than to reproduce on the screen this sonorous mimicry of the realist text. …”
Get full text

« Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993) by Claire Dutriaux

“…Haile Gerima, an independent Ethiopian filmmaker who belonged to the LA Rebellion film movement, directed films which dealt with various aspects of the African American and black diasporic experience. …”
Get full text

Tunde Kelani: The Man Exceeds the Frame by Toyin Falola

“… The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. …”
Get full text

Protocole d’errance d’une forme by Francesca Cozzolino, Coralie Maurin, Kristina Solomoukha

“…Designed by an anthropologist, an artist, and a filmmaker, this audio-visual narrative is built like a virtual trip through different groups of images in which different variants of the caracol are shown—a motif that, ranging from the representation of the snail shell to the spiral, embodies both the Maya past and the Zapatista ideals of the present. …”
Get full text

Sud de Chantal Akerman ou une histoire de territoire et de terre : le Sud comme espace de mémoire by Marie Liénard

“…The article examines Chantal Akerman's work Sud (South) filmed in 1999. The Belgian filmmaker had always been fascinated by the Southern part of the United States. …”
Get full text