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Annie van den Oever MAINSTREAM COMPLEXITY. NOLAN’S INCEPTION AS A CASE FOR (AMATEUR) NARRATOLOGISTS pp. 33-, DOI: 10.7372/70978 Details Cite
Maria Poulaki SELF-REFLEXIVITY, DESCRIPTION, AND THE BOUNDARIES OF NARRATIVE CINEMA pp. 45-, DOI: 10.7372/70979 Details Cite
Jean-Marc Limoges PERCEPTION ET COGNITION DANS LES GIALLI : UNE AUTRE FAçON DE (SA)VOIR pp. 57-, DOI: 10.7372/70980 Details Cite
André Gaudreault CINEMA, AN ART MORE PHOTOGRAPHIC THAN AUTOGRAPHIC pp. 83-, DOI: 10.7372/70982 Details Cite
Claudio Bisoni CINEMA WITHIN THE AESTHETIC RELATION: FILM STUDIES AND GÉRARD GENETTE’S ART THEORY pp. 91-, DOI: 10.7372/70983 Details Cite
Pierluigi Basso Fossali À NOUS LA PHILOLOGIE. L’IMPLÉMENTATION NUMÉRIQUE DU CINÉMA ET L’IDENTITÉ FILMIQUE DANS L’HORIZON THÉORIQUE DE GÉRARD GENETTE pp. 101-, DOI: 10.7372/70984 Details Cite
Nicola Dusi REMAKING AS A PRACTICE: SOME PROBLEMS OF TRANSMEDIALITY pp. 115-, DOI: 10.7372/70985 Details Cite
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