Cinema - Cinema

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197 Items
Mariana Schwartz, Alfredo Taunay
The visible textures in the film The Invisible Life of Eurídice Gusmão: an analysis of the production design
DOI: https://doi.org/10.37390/avancacinema.2023.a510
Paulo Alexandre e Castro
The underground man: Plato, Dostoevsky and Parasites
DOI: https://doi.org/10.37390/avancacinema.2021.a308
Alejandra del Barrio Cabello
The Spanish true crime documentary on digital platforms (2016-2021): evolution and characteristic features
DOI: https://doi.org/10.37390/avancacinema.2023.a504
Caio Chaves Faria
The Sheik (1921), George’s Melford: A oriental fantasy and raciality
DOI: https://doi.org/10.37390/avancacinema.2023.a509
Maroua Médini
The revival of Tunisian post revolution independent cinema: “Dachra” by the filmmaker Abdelhamid Bouchnak
DOI: https://doi.org/10.37390/avancacinema.2023.a508
Daniela de Castro Pastore, Elis Crokidakis Castro, Ivana Denise Grehs
The representation of reality through cinematic art in the construction of Bacurau
DOI: https://doi.org/10.37390/avancacinema.2020.a130
Adriana Navarro Alvarez
The professionalization of animated short film in Spain. Current situation
DOI: https://doi.org/10.37390/avancacinema.2021.a307
Marden Machado
The Power of Suggestion
DOI: https://doi.org/10.37390/avancacinema.2024.a580
Abbas mohammadi
The place of literature adaptation in Afghan cinema
DOI: https://doi.org/10.37390/avancacinema.2021.a306
Pedro Portugal
The Oxymoron
DOI: https://doi.org/10.37390/avancacinema.2020.a159
Diana Martinez Muñoz, Melissa de Raaf
The Non-Existent Documentary Nor Fiction
DOI: https://doi.org/10.37390/avancacinema.2021.a305
Marcela Negro, Javier Olarte
The montage cinema and the narrative structure, strengths for the story progression.
DOI: https://doi.org/10.37390/avancacinema.2022.a419
Fernando Moreno Suárez
The mexican cinema at the end of the pandemic: Industry, new consumption, new habits, budget cuts and cultural policies
DOI: https://doi.org/10.37390/avancacinema.2023.a507
Fabio Belotte
The materiality of memory in non-fictional animation
DOI: https://doi.org/10.37390/avancacinema.2020.a129
Liliana Rosa
The limits of the representation of violence in Benny’s Video (1992) and Funny Games (1997), directed by Michael Haneke
DOI: https://doi.org/10.37390/avancacinema.2022.a418
João Pedro Fernandes, Filipe Lopes
The influence of statistics in structuring the participatory and expository mode
DOI: https://doi.org/10.37390/avancacinema.2023.a506
Elahe Saberi
The Impact of Non-linear Narrative Structures on Better Character Development in Animated-short Movies
DOI: https://doi.org/10.37390/avancacinema.2023.a505
Ivana Denise Grehs
The image of the memory of slavery as a background in the documentary “A Última Abolição”.
DOI: https://doi.org/10.37390/avancacinema.2020.a128
Luiz Nazario
The Gate of Heaven: Miracle or Fraud?
DOI: https://doi.org/10.37390/avancacinema.2021.a304
Filipe Freitas Chaves , Luiz Roberto Pinto Nazario
The found footage of Werner Herzog’s Grizzly Man
DOI: https://doi.org/10.37390/avancacinema.2021.a303
Angélica Marques Coutinho
The experience of inclusion: the first selection process for feature film with quotas of gender and race of the Brazilian National Film Agenc
DOI: https://doi.org/10.37390/avancacinema.2022.a416
Ángela Sáenz-Herrero, Juan Pedro Rica-Peromingo
The evolution of the Spanish language through dubbing in Spain
DOI: https://doi.org/10.37390/avancacinema.2020.a155
Edmundo Cordeiro
The elevator scene in ‘Horse Money’: the sound-image.
DOI: https://doi.org/10.37390/ac.v0i0.54
Cassia Cassitas
The construction of the feminine in the audiovisual The hours
DOI: https://doi.org/10.37390/avancacinema.2022.a415
Julio Vallejo Herán
The confusion between person and character in Cravan vs Cravan (Lacuesta, 2002)
DOI: https://doi.org/10.37390/avancacinema.2022.a414