The Flemish choreographer Anne Teresa de Keersmaeker was always taken away from the idea according to which, in contemporary dance, music and choreography were independent.

Throughout history, French theatre showed great confidence in its supremacy over foreign theatres - whether ancient or contemporary. Such a certainty was reinforced by the success of Parisian plays all over Europe.

A major fact since the end of the 20th century has been the increasing participation of internationalisation in the financing of film and audiovisual productions. Certain States strongly encourage their production, particularly tax wise, thus modifying the scope of international alliances and both quantitative and qualitative levels of films and...

A Broad narrative of Polish cinema from its origins to the present day, "Histoire du cinéma polonais" follows a traditional chronological pattern in its account of Polish historico-cinematography, from the first screenings put together in theatres on the Polish territory in 1896 up till the movies realized in 2013...

Travels and exiles in the movies, meeting alterity concerns cultural hybridization, as translated through the screen, with no geographical restriction (American, Italian, African, Lebanese, Taiwanese, Japanese movies and so on). Beyond directors' travels and exiles, as sources of cultural and esthetical transfers, travel and exile as a movies'...

Present since the beginnings of the cinema, Matte Painting is a special effect which can be found in thousands of fake shots with an illusion so perfect that viewers are largely unaware of it. Consisting in combining in the same wide shot a real set and its continuation in the form of a painting, whether realized with brushes on glass or ...

Long despised by the critics, popular shows are studied in this book as a media culture evolving through different forms of aural and visual representations, theatre, cinema, music-hall and others, often with a hypermediatic dimension.

What kind of experience do we go through when « we watch a movie » ? Though this standard phrase doesn't take into account the complexity of spectator's seeing/hearing, it nevertheless underlines a kind of equivocity about what we « watch », as well as what is actually at stake.