The papers on cultural diplomacy are quite substantial, very few concern the production and distribution of films. This book fills this gap with the research project that led to it: Exporting and supporting cinema in the context of Instituts français and Alliances françaises.

Following the counter-migration of the italian director Michelangelo Frammartino from Milan to the southern countryside means to be invited in a cinematic universe where the human field swarms with the off-camera of the environmental lives.

Does a film about a writer represent a life, an institutional position, or a discourse? Is the goal of literary television programs or on-line critical videos to make literary more accessible? Questions of cultural heritage and education, as well as the "star" status of writers, seem to dominate cinematographic and televisual approaches to ...

Since the opening of European borders in the 1990s, horizon landscapes have been challenged. Three European countries allow us to examine the limits of their horizons: landscapes in film become a memory-screen testifying to important European changes and numerous interpretations of their national horizons.

From time immemorial, illusionist magicians have used the new technical means in their show.

Designed in 1787, the Panorama offered the public a grandiose representation giving the feeling of visiting a city or reliving a historical event.

This volume is based on the results of a survey about film spectatorship and the uses of films today that was carried out in two North African (Morocco and Tunisia), and two Sub-Saharan (Tchad and Togo) countries. The survey with 3000 respondents used a similar questionnaire adapted to local specificities in the different countries. The analysis of

Segundo de Chomón (1871-1929) is one of the undisputed masters in first cinematographic tricks and early coloring of moving images / early moving images coloring.

Jean Grémillon and the four Elements intend, if not rehabilitate, at least to pay a renewed tribute to one of the major filmmakers of the twentieth century French school, a creator who occupies a special place, paradoxical: even if it is not quite forgotten, the work of this man nourished by musical art remains today strangely back, probably ...

Circus and cinema have often been thought together for a long time, but in terms of themes and incorporation: it is the cinema which seizes the circus to appropriate its universe, its characters, its stories, and vice versa. But the fruitfulness of the links that unite the two practices can not be limited to a one way ticket. Circus and cinema...