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Zeitschriftenartikel zum Thema „France In motion pictures“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 7. Februar 2022

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1

Heinemann, Julia. „Motion Pictures of the Royal Family“. French Historical Studies 44, Nr. 2 (01.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.

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2

Wicks, Frank. „Picture This“. Mechanical Engineering 126, Nr. 07 (01.07.2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.

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3

Herowati, Herowati, Agung Pambudi und Nurbayti Nurbayti. „Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang“. CICES 3, Nr. 1 (28.02.2017): 48–60. http://dx.doi.org/10.33050/cices.v3i1.422.

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The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"

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4

Bakker, Gerben. „Stars and Stories: How Films Became Branded Products“. Enterprise & Society 2, Nr. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.

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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.

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5

Guerin, Antoine, Antonio Abellán, Battista Matasci, Michel Jaboyedoff, Marc-Henri Derron und Ludovic Ravanel. „Brief communication: 3-D reconstruction of a collapsed rock pillar from Web-retrieved images and terrestrial lidar data – the 2005 event of the west face of the Drus (Mont Blanc massif)“. Natural Hazards and Earth System Sciences 17, Nr. 7 (18.07.2017): 1207–20. http://dx.doi.org/10.5194/nhess-17-1207-2017.

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Abstract. In June 2005, a series of major rockfall events completely wiped out the Bonatti Pillar located in the legendary Drus west face (Mont Blanc massif, France). Terrestrial lidar scans of the west face were acquired after this event, but no pre-event point cloud is available. Thus, in order to reconstruct the volume and the shape of the collapsed blocks, a 3-D model has been built using photogrammetry (structure-from-motion (SfM) algorithms) based on 30 pictures collected on the Web. All these pictures were taken between September 2003 and May 2005. We then reconstructed the shape and volume of the fallen compartment by comparing the SfM model with terrestrial lidar data acquired in October 2005 and November 2011. The volume is calculated to 292 680 m3 (±5.6 %). This result is close to the value previously assessed by Ravanel and Deline (2008) for this same rock avalanche (265 000 ± 10 000 m3). The difference between these two estimations can be explained by the rounded shape of the volume determined by photogrammetry, which may lead to a volume overestimation. However it is not excluded that the volume calculated by Ravanel and Deline (2008) is slightly underestimated, the thickness of the blocks having been assessed manually from historical photographs.

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6

Fauser, Annegret. „Sounding the Tricolore: France and the United States during World War ii“. Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, Nr. 1-2 (25.04.2017): 9–21. http://dx.doi.org/10.7202/1039609ar.

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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

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7

Ulff-Møller, Jens. „Film trade diplomacy between France and the United States: American and European policies toward the motion picture industry 1945–1971“. Innovation: The European Journal of Social Science Research 33, Nr. 4 (01.10.2020): 406–22. http://dx.doi.org/10.1080/13511610.2020.1838263.

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8

Mazzotti, Stéphane, Hervé Jomard und Frédéric Masson. „Processes and deformation rates generating seismicity in metropolitan France and conterminous Western Europe“. BSGF - Earth Sciences Bulletin 191 (2020): 19. http://dx.doi.org/10.1051/bsgf/2020019.

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Most of metropolitan France and conterminous Western Europe is currently located within the Eurasia intraplate domain, far from major plate boundaries (the Atlantic ridge and Nubia – Eurasia convergence zone). As in other intraplate regions, present-day deformation and seismicity rates are very slow, resulting in limited data and strong uncertainties on the ongoing seismotectonics and seismic hazards. In the last two decades, new geological, seismological and geodetic data and research have brought to light unexpected deformation patterns in metropolitan France, such as orogen-normal extension ca. 0.5 mm yr−1 in the Pyrenees and Western Alps that cannot be associated with their mountain-building history. Elsewhere, present-day deformation and seismicity data provide a partial picture that points to mostly extensive to strike-slip deformation regimes (except in the Western Alps foreland). A review of the numerous studies and observations shows that plate tectonics (plate motion, mantle convection) are not the sole, nor likely the primary driver of present-day deformation and seismicity and that additional processes must be considered, such as topography potential energy, erosion or glacial isostatic adjustment since the last glaciation. The exact role of each process probably varies from one region to another and remains to be characterized. In addition, structural inheritance (crust or mantle weakening from past tectonic events) can play a strong role in deformation localization and amplification up to factors of 5–20, which could explain some of the spatial variability in seismicity. On the basis of this review, we identify three research directions that should be developed to better characterize the seismicity, deformation rates and related processes in metropolitan France: macroseismic and historical seismicity, especially regarding moment magnitude estimations; geodetic deformation, including in regions of low seismicity where the ratio of seismic to aseismic deformation remains a key unknown; an integrated and consistent seismotectonic framework comprising numerical models, geological, seismological and geodetic data. The latter has the potential for significant improvements in the characterization of seismicity and seismic hazard in metropolitan France but also Western Europe.

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9

Young, Linda. „Motion Pictures“. SMPTE Journal 106, Nr. 1 (Januar 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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10

Ricotta, Frank J. „Motion Pictures“. SMPTE Journal 104, Nr. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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11

Ricotta, Frank J. „Motion Pictures“. SMPTE Journal 103, Nr. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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12

Young, Linda. „Motion Pictures“. SMPTE Journal 105, Nr. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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13

Masson, Alan J. „Motion Pictures“. SMPTE Journal 108, Nr. 2 (Februar 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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14

Masson, Alan J. „Motion Pictures“. SMPTE Journal 107, Nr. 1 (Januar 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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15

Burns, Edward J. „Motion Pictures“. SMPTE Journal 97, Nr. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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16

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau und Sacha Zilberfarb. „Motion pictures“. Vacarme 15, Nr. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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17

Mitchison, Tim J. „Motion pictures“. Nature 357, Nr. 6373 (Mai 1992): 32. http://dx.doi.org/10.1038/357032a0.

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18

Antonoff, Michael. „Motion Pictures“. Scientific American 296, Nr. 5 (Mai 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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19

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 16, Nr. 5 (Mai 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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20

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 17, Nr. 1 (Januar 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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21

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 17, Nr. 9-10 (September 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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22

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 18, Nr. 7-8 (Juli 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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23

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 18, Nr. 9-10 (September 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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24

Gomery, Douglas. „Motion Pictures“. Communication Booknotes 19, Nr. 5 (September 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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25

Block, Eleanor, James K. Bracken, Eleanor S. Block und Bruce A. Austin. „Motion Pictures“. Communication Booknotes Quarterly 29, Nr. 1 (Januar 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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26

Levine, Niall, John A. Lent und Bruce Austin. „Motion pictures“. Communication Booknotes Quarterly 29, Nr. 2 (März 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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27

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca und Gary R. Edgerton. „Motion pictures“. Communication Booknotes Quarterly 29, Nr. 4 (September 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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28

Austin, Bruce A., Niall Levine und Chris Sterling. „Motion pictures“. Communication Booknotes Quarterly 30, Nr. 4 (September 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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29

Blasko, Edward J. „Motion Pictures“. SMPTE Journal 95, Nr. 4 (April 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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30

Baptista, John L. „Motion Pictures“. SMPTE Journal 100, Nr. 4 (April 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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31

Baptista, John L. „Motion Pictures“. SMPTE Journal 101, Nr. 4 (April 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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32

Baptista, John L. „Motion Pictures“. SMPTE Journal 102, Nr. 4 (April 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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33

Iosifian, S. A., und V. A. Petrovskii. „Motion Pictures“. Russian Education & Society 37, Nr. 10 (Oktober 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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34

Paksiutov, G. „“Soft Power” and “Cultural Capital” of Nations: the Case of Film Industry“. World Economy and International Relations 64, Nr. 11 (2020): 106–13. http://dx.doi.org/10.20542/0131-2227-2020-64-11-106-113.

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The article showcases the similarities between Joseph Nye’s concept of soft power and Pierre Bourdieu’s theory of capital, and attempts to draw upon the latter to deepen the understanding of the role of culture as a source of soft power. This approach is applied to study the role of a national film industry as a soft power tool. First, based on the existing academic literature, some key concepts relevant to the film industry are conceptualized in terms of Bourdieu’s theory of capital. After that, Bourdieu’s research frameworks – particularly, the concept of cultural capital – are used to describe how national film industry contributes to a nation’s cultural influence on the global stage. The author specifically highlights the importance of consideration of “institutionalized cultural capital” (or institutional recognition) and presents some evidence on film awards, namely, the awards from three large European film festivals (Berlin, Venice and Cannes) and Academy Award for Best Foreign Language film. It is emphasized that European countries (such as Italy and France) and the U.S. are in advantageous position in regard to this component of cultural influence: motion pictures produced by these countries receive awards very frequently, while, for instance, African and South American films are awarded scarcely. Such tendencies demonstrate unequal possibilities of countries for the use of national cinema as a tool of cultural influence. The author asserts that a national “soft power strategy” can be seen, in terms of Bourdieu’s theory of capital, as a capital conversion strategy, and discusses the implications of such approach. Furthermore, the applicability of Bourdieu’s theory of capital for the analysis of Russian cinema as a soft power tool is discussed. In conclusion, the author summarizes theoretical and practical implications of the proposed approach, draws attention to some of possible directions for further research.

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35

Ito, Eri, Cécile Cornou, Fumiaki Nagashima und Hiroshi Kawase. „Estimation of Velocity Structures in the Grenoble Basin, France, Using Pseudo Earthquake Horizontal-to-Vertical Spectral Ratio from Microtremors“. Bulletin of the Seismological Society of America 111, Nr. 2 (02.02.2021): 627–53. http://dx.doi.org/10.1785/0120200211.

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ABSTRACT Based on the diffuse field concept for a horizontal-to-vertical spectral ratio of earthquakes (eHVSR), the effectiveness of eHVSRs to invert P- and S-wave velocity structures down to the seismological bedrock (with the S-wave velocity of 3 km/s or higher) has been shown in several published works. An empirical method to correct the difference between eHVSR and a horizontal-to-vertical ratio of microtremors (mHVSR), which is called earthquake-to-microtremor ratio (EMR), has also been proposed for strong-motion sites in Japan. However, the applicability of EMR outside of Japan may not be warranted. We test EMR applicability for the Grenoble basin in France with plentiful microtremor data together with observed weak-motion recordings at five sites. We thereby establish a systematic procedure to estimate the velocity structure from microtremors and delineate the fundamental characteristics of the velocity structures. We first calculate the EMR specific for the Grenoble basin (EMRG) and calculate pseudo eHVSR (pHVSR) from EMRG and mHVSR. We compare the pHVSRs with the eHVSRs at five sites and find sufficient similarity to each other. Then, we invert velocity structures from eHVSRs, pHVSRs, and mHVSRs. The velocity structures from eHVSRs are much closer to those from pHVSRs than those from mHVSRs. We need to introduce a number of layers with gradually increasing S-wave velocities below the geological basin boundary from a previous gravity study because the theoretical eHVSR of the model with a large velocity contrast has larger peak amplitudes than the observed. The depth of the S-wave velocity of 1.3 km/s (Z1.3) shows a strong, linear correlation with the geological boundary depth. Finally, we apply our validated methodology and invert velocity structures using pHVSRs at 14 sites where there are no observed earthquakes. The overall picture of Z1.3 at a cross section in the northeastern part of the basin corresponds to the geological boundary.

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36

Mangolte, Pierre-André. „Naissance de l’industrie cinématographique: Les brevets aux États-Unis et en Europe (1895-1908)“. Annales. Histoire, Sciences Sociales 61, Nr. 5 (Oktober 2006): 1121–45. http://dx.doi.org/10.1017/s0395264900039950.

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RésuméCet article porte sur l’émergence historique de l’industrie cinématographique aux États-Unis et en Europe entre 1895 et 1908, et sur le rôle de l’institution des patents (ou « brevets d’invention ») dans l’essor et la définition des nouvelles activités économiques. Il porte aussi sur les théories et justifications économiques de l’institution. Cette période est dominée par les revendications de l’inventeur Thomas Edison, ce qui conduisit à une guerre des patents prolongée aux États-Unis qui handicapa fortement la production et donna finalement naissance à un monopole (la Motion Picture Patents Company). À l’inverse, en Europe et plus particulièrement en France, on constate un essor rapide de l’industrie dans une forme directement concurrentielle. L’analyse comparative systématique met alors en évidence les causes de ces évolutions si dissemblables, c’est-à-dire deux configurations historiques différentes des droits de propriété intellectuelle et deux définitions différentes de l’institution elle-même. L’étude peut ainsi éclairer le débat théorique récurrent (et contemporain) sur la définition (largeur, profondeur, renforcement, etc.) de l’institution des brevets.

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Pennino, Anthony, und Francesca Musiani. „Reviews [review of "Prometheus (motion picture", Scott, R., Director; 2012) and "The Networked France, Vol. 1: The Meeting of Telecommunications and Computing" (Schafer, V.; 2012)]“. IEEE Annals of the History of Computing 34, Nr. 4 (Oktober 2012): 4–6. http://dx.doi.org/10.1109/mahc.2012.67.

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38

Jennifer Tebbe-Grossman. „Medicine’s Motion Pictures“. Film & History: An Interdisciplinary Journal of Film and Television Studies 39, Nr. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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39

Cho, Minhaeng. „Molecular motion pictures“. Nature 444, Nr. 7118 (November 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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40

Hunter, Jefferson. „Pictures and Motion Pictures in the 1940s“. Hopkins Review 7, Nr. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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41

Nimis, Erika. „“Motion pictures” in Nigeria“. Visual Anthropology 14, Nr. 3 (September 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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42

Leach-Murray, Susan. „SWANK Motion Pictures, Inc.“ Technical Services Quarterly 35, Nr. 1 (27.11.2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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43

Bardell, Eunice Bonow. „Pharmacists in Motion Pictures“. American Journal of Health-System Pharmacy 45, Nr. 1 (01.01.1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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44

Copeland, V. Natasha E. „Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show“. Études littéraires africaines, Nr. 30 (17.11.2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.

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Hoyler, Michael, und Allan Watson. „Framing city networks through temporary projects: (Trans)national film production beyond ‘Global Hollywood’“. Urban Studies 56, Nr. 5 (03.10.2018): 943–59. http://dx.doi.org/10.1177/0042098018790735.

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This article advances research on external urban relations by drawing attention to the role of temporary project-based economic organisation in the formation of inter-firm links between cities. Through a novel empirical examination of (trans)national co-production in the motion picture industry, we reveal how such projects transcend the boundaries of individual production clusters and link urban centres within specific network configurations. Stripping away the ‘top layer’ of Hollywood’s commercially successful feature films, we undertake a social network analysis of film productions in four markets across three continents – China, Germany, France and Brazil – to provide a unique comparative analysis of networked urban geographies. Our findings show that film production networks are grounded in existing structural relations between cities. The spatial forms of these networks range from monocentric in the case of the French film market, to dyadic in the case of China and Brazil, to polycentric in the case of the German film market. Conceptually, we argue that adopting an inter-firm project-based approach can account for the ways in which complex patterns of inter-firm production relations accumulate to form (trans)national city networks. Viewing city networks in this way provides an important alternative perspective to dominant conceptualisations of global urban networks as formed through corporate intra-firm relations.

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Porée, Marc. „Poets' lives in motion (pictures)“. Études anglaises 66, Nr. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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47

Baecker, Dirk. „The Reality of Motion Pictures“. MLN 111, Nr. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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48

Bakker, Gerben. „How Motion Pictures Industrialized Entertainment“. Journal of Economic History 72, Nr. 4 (14.12.2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railways, and electricity, but not insignificant. An observer might have noted that “motion pictures are everywhere except in the productivity statistics.”“So long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great as that which the business leaders of the present generation have made on the last.”1Alfred Marshall

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Yeazell, Ruth Bernard. „Sex, Lies, and Motion Pictures“. Henry James Review 25, Nr. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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Marta Zarzycka and Bettina Papenburg. „Motion Pictures: Politics of Perception“. Discourse 35, Nr. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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