European cinema in an era of Studio-Building: some artistic and industrial tendencies in Studiocanal’s output, 2006-present
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1471030
“The migrant gaze” and “the migrant festive chronotope”- programming the refugee crisis at the European human rights and documentary film festivals. The case of the One World International Human Rights Documentary Film Festival (2016).
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1631532
Benefaction, processing, exclusion: documentary representations of refugees and migrants in Fortress Europe
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1603029
Introduction: European Cinema and Post-Democracy
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1644036
Chevalier (2015) and the rules of the European game
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1631531
‘Forget about all your taboos’: transgressive memory and Nazisploitation
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1456188
‘Being European’: UK production companies and Europe
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1537107
Towards a recasting of forms: the cinematic experience of/in epic theatre in Sokurov’s Alexandra and Tarr’s The Turin Horse
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2017.1400295
An invitation to bear witness: collective guilt and the ethical spectator in Haneke’s Caché
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1456189
Engaged observationalism: forming publics in the gallery film
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1595921
The impossible possible narrative: the quest for truth in Bir Zamanlar Anadolu’da/Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011)
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1686894
The ‘lost child’ as figure of trauma and recovery in early post-war cinema: Fred Zinnemann’s The Search (1948) and Natan Gross’ Unzere Kinder (1948)
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1615188
European co-productions and film style: Nuri Bilge Ceylan
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1554774
Everyone loves (or hates) a lord: the aristocracy in British interwar cinema
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1589761
Framing the invisible hands. Work, cinema and crisis in La mano invisible (Macián 2016)
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1643118
I’ll be watching you: a non-linear reading of Roland Gräf’s Die Flucht
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1631530
Discursive practice of Combat Girls: the construction of social reality in contemporary German film
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1435340
Uses and consumption of cinema by European adolescents: a cross-cultural study
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1613044
Boy 7 in double exposure: European genre cinema between transnational industry practices and national consumption
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1708037
Editorial
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1602297
WT2: a low budget experiment in ‘heart, humour and horror’
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2018.1501869
Horrible beauty and (un)easy submission: melodrama and the gothic in Calvary
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2017.1419674
Trees, photos and Basque identity in Asier Altuna’s Amama (When a Tree Falls)
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1686901
Migration cinema and Europe’s ‘unguarded door’
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1686891
The seventh art? Art cinema and Ingmar Bergman from an audience perspective
来源期刊:Studies in European CinemaDOI:10.1080/17411548.2019.1660508