Dominique Païni De Collage(s) de France à Voyage(s) en utopie, retour(s) d'expositions pp. 11-, DOI: 10.7372/71079 Details Cite
André Habib Un beau souci. Réflexions sur le montage de/dans Voyage(s) en utopie de Jean-Luc Godard pp. 17-, DOI: 10.7372/71080 Details Cite
Céline Gailleurd Du naufrage des utopies à l'effondrement de l'oeuvre totale: le monde sidéré pp. 27-, DOI: 10.7372/71081 Details Cite
Jennifer Verraes L'Auto est un avion sans ailes qui rampe sur le sol. L'Esprit et la lettre des Voyage(s) en utopie de Jean-Luc Godard pp. 35-, DOI: 10.7372/71082 Details Cite
Thomas Elsaesser Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility pp. 43-, DOI: 10.7372/71083 Details Cite
Marie Fraser Permutations narratives. Inconsolable Memories et Klatsassin de Stan Douglas pp. 55-, DOI: 10.7372/71084 Details Cite
Jennifer Steetskamp Moving Images and Visual Art: Revisiting the Space Criterion pp. 65-, DOI: 10.7372/71085 Details Cite
Ariane Noël de Tilly Recent Surveys on the Projected Image: A Look at Different Interpretations pp. 71-, DOI: 10.7372/71086 Details Cite
Alexander Streitberger L'Environnement cinématique de Victor Burgin pp. 91-, DOI: 10.7372/71088 Details Cite
ERNIE GEHR Ernie Gehr in Conversation with Adriano Aprà and The Paris Spring School pp. 101-, DOI: 10.7372/71089 Details Cite
Dario Marchiori Film Form as Film History: An Introduction to Ernie Gehr pp. 117-, DOI: 10.7372/71091 Details Cite
Giovanna Maina Pornscapes. Re-enacting Porn Film in the Landscapes of Contemporary Pornography pp. 127-, DOI: 10.7372/71092 Details Cite
Enrico BiasinFederico Zecca Contemporary Audiovisual Pornography: Branding Strategy and Gonzo Film Style pp. 133-, DOI: 10.7372/71093 Details Cite
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