Results 31 to 40 of about 179,602 (288)
Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, 2022 Five Ukrainian filmmakers discuss how the war has impacted their work, how they see the role of cinema in wartime, and what the institutional landscape of Ukrainian cinema looks like today.
Masha Shpolberg, August Schaller
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The Pleasures of Polyglossia in Emirati Cinema: Focus on From A to B and Abdullah [PDF]
, 2016 Polyglot films highlight the coexistence of multiple languages at the level of dialogue and narration. Even the notoriously monolingual Hollywood film industry has recently seen an increase in polyglot productions.
Doris Hambuch
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The Representation of War in All Quiet on Western Front Films
Erciyes İletişim DergisiWar, which represents power on the one hand and destructiveness on the other, is a form of struggle in the most general sense. This phenomenon, which includes all kinds of diplomatic or armed struggles in which the peace environment is disrupted, is of ...
Funda Masdar
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The War that Won't Die: The Spanish Civil War in Cinema
CINEJ Cinema Journal, 2018 David Archibald, The War that Won’t Die: The Spanish Civil War in Cinema. Manchester: Manchester University Press, 2012. x + 210 pp.
Sarah Lonsdale
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Josef Fares’ Zozo as accented cinema [PDF]
, 2016 In 2005, the Lebanese-Swedish filmmaker Josef Fares, who had attained recognition in Sweden through the immigrant comedies Jalla! Jalla! (2000) and Kopps (2003), presented his third feature film and first drama, Zozo, inspired by Fares’s own migration to
Alexander, Elizabeth Lindsay
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Sex in the city: the rise of soft-erotic film culture in Cinema Leopold, Ghent, 1945-1954 [PDF]
, 2015 Since the 1990s, film studies saw a disciplinary shift from approaches favoring a textual and ideological analysis of films to a broader understanding of the socio-cultural history of cinema under the banner of new cinema history.
Biltereyst, Daniël +1 more
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, 2017 Like the island itself, the cinema of Taiwan has always been in a perpetual state of liminality. Taiwan was a Japanese colony for fifty years (1895–1945) and during that time no cinema that could be labeled as distinctively “Taiwanese” emerged.
Udden, James N.
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YAP1::TFE3 mediates endothelial‐to‐mesenchymal plasticity in epithelioid hemangioendothelioma
Molecular Oncology, EarlyView.The YAP1::TFE3 fusion protein drives endothelial‐to‐mesenchymal transition (EndMT) plasticity, resulting in the loss of endothelial characteristics and gain of mesenchymal‐like properties, including resistance to anoikis, increased migratory capacity, and loss of contact growth inhibition in endothelial cells.
Ant Murphy +9 more
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War Spoliations and Cultural Transfers: The Case Study of Soviet Cinema (1939-1949)
Connexe, 2019 This collection of articles is one of the last achievements of the scientific project called Cinema in the Soviet Union at war, 1939-1949. This project was initiated by Valérie Pozner (CNRS, Arias THALIM) and Alexandre Sumpf (University of Strasburg ...
Eric Aunoble
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East/West: Journal of Ukrainian Studies, 2022 Focusing on Akhtem Seitablaiev’s blockbuster Kiborhy: Heroi ne vmyraiut' (Cyborgs: Heroes Never Die, 2017) and Sergei Loznitsa’s auteur production Donbass (2018), this article argues that the latest cycle of Ukrainian war films merits critical attention
Yuliya V. Ladygina
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