Alain Boillat STRANGER THAN FICTION : MÃTALEPSE DE GENETTE ET QUELQUES UNIVERS FILMIQUES CONTEMPORAINS pp. 21-, DOI: 10.7372/70977 Details Cite
Annie van den Oever MAINSTREAM COMPLEXITY. NOLANâS 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 GÃRARD GENETTEâS ART THEORY pp. 91-, DOI: 10.7372/70983 Details Cite
Pierluigi Basso Fossali à NOUS LA PHILOLOGIE. LâIMPLÃMENTATION NUMÃRIQUE DU CINÃMA ET LâIDENTITà FILMIQUE DANS LâHORIZON THÃORIQUE DE GÃRARD 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
Publisher’s Ethics Il Mulino adopts and promotes specific guidelines (PEMS) about publishing ethics. Our ethics statements are based on COPE’s Best Practice Guidelines for Journal Editors.
Most downloaded articles (last 2 months) Simone Venturini, Introduction. Giusy Pisano, Eppur si muove ! Le mouvement dessiné et photographié. Jean-Pierre Sirois-Trahan, Les relations entre Pathé et Méliès : aux sources du cinéma industriel et du cinéma indépendant (1908-1913). Charles O'Brien, Camera Distance and Max Linder at Pathé-Frères. Cem Pekman, Selin Tüzün, Turkish Television Dramas: The Economy and Beyond. Gunhild Agger, Nordic Noir on Television: The Killing I-III. Paul Willemsen, Figures of the Extra. Philippe Fauvel, Le Château de Pointilly (1972) et Pointilly (2006) d?Adolfo Arrieta: un film réduit de moitié par son auteur trente-cinq ans après. Claudio Bisoni, CINEMA WITHIN THE AESTHETIC RELATION: FILM STUDIES AND GÃRARD GENETTEâS ART THEORY. Marco Grosoli, The Sin of Repetition. [continue...]