The film De Humani Corporis Fabrica has repeatedly been dubbed in the English-speaking film criticism media as a “non-fiction shocker” (Chang, 2023), a sample of “tactile cinema” (Mullen, 2023) with “ample gore on display” (Mintzer, 2022). This paper, firstly, aims to contradict these claims, as the film’s goal is not to elicit an immersive representation of the human body but a reflection on how it is instead objectified, abstracted, and interpreted by means of deconstructing the medical gaze and via a complex interplay between the viewer’s quasi-identification and alienation. To this end, it closely analyses the patterns in the camerawork, the various degrees of remediation of the medical imagery, and the relationships between denotation and connotation, highlighting the prevalence of de-dramatization strategies, which run counter to societal taboos and conventional representations of the hospital in popular culture as a sensationalized site of emergencies. As such, we argue that De Humani Corporis Fabrica is an essay film that seeks neither to “shock” viewers nor to mount a narrow institutional critique of the French sanitary system. By delving into the film’s intricate biopolitics, we outline how the various levels of transgression, the emphasis on “malfunction,” and the pervasiveness of technology are framed as symptoms of broader tensions between paternalistic modes of interaction and patient-centred approaches within the Western sanitary system at large. Finally, by interpreting the ending as a counterpoint to the objectifying gaze that the film lures us into adopting throughout, we consequently stress the film’s defiant sense of “anarchy,” as it urges us to reclaim “our” bodies, be them individual or collective.

Model for an entire generation Lucian Pintilie, a creative genius, takes on the role of revealing the world as it is, with all its shadows and ambiguities, as depicted in his films through absurdity, grotesque or farcical elements. The artistic approach of director Lucian Pintilie becomes redemptory, aiming to foster responsibility and awaken a collective consciousness. Lucian Pintilie’s intellectual preoccupation provides solid study material for the creators of the New Wave in the Romanian cinema, both through his films and through the volume Bricabrac, which includes his directorial poetics.

Cinematic art, as one of the most diverse art forms, underscores the importance of integrating motivation and creativity into the educational process. Since the absence of motivation can complicate even the simplest tasks, understanding how to effectively apply motivation within the educational environment is essential. Intrinsic and extrinsic motivation are not necessarily in conflict; they can coexist and interact, producing favourable outcomes in the teaching and learning process. Recognizing these facts, it becomes crucial to incorporate game-based and playful elements into cinematic educational workshops to stimulate student’s creativity. Practical exercises including such initiatives play a significant role in enhancing children’s imagination. Therefore, this study explores the realm of film pedagogy, with a specific emphasis on the power of fostering creativity and motivation.

This article explores the extent to which the actor’s face has impacted society to the point that it is no longer a personal possession and that its usage and context are difficult to control. I bring together perspectives from visual studies and celebrity studies to address the issues of face borrowing and identification. I examine the engagement of the general public with the actor’s face in an attempt to create the basis for a critical analysis. I propose viewing the actor’s face as an image-object, detached from the physical body and able to travel without the actual presence of the actor. Three defining stages are identified in social behaviour that are a direct result of capturing the face in a photograph: detaching, owning and wearing the face. The need for intimacy and identification that governs the relationship between audiences and celebrities has an effect on the handling of images of actors. Furthermore, this article investigates the concurrence of technological advancements that allow individuals to use actors’ faces for shaping their own identities and highlights the danger that actors are facing as the rise of artificial intelligence can render them as replicable digital assets.

History lessons, in particular, and human sciences, in general, tend to be more appealing to students when film analysis or filmmaking and role play are regularly integrated in the teaching process. In the wake of the recent pandemic, which imposed remote learning, multimodal teaching strategies have gathered momentum due to their potential of increasing student creativity and insight into the topics under research, and of developing the formative goals of education. Expanding history lesson competencies, values and skills into an interdisciplinary approach to the humanities field by incorporating methods from cinematography and theatre is been proven to stimulate the authenticity of education, thus teaching sustainable citizenship. The article presents two examples on the use of film analysis and dramatization of source information as part of history lessons, which were applied successfully in the case of high school students. By aiming to implement multimodal digital methods of teaching, learning, and assessment at a systemic level, the article demonstrates that experimenting with and using the language and tools of filmmaking and improvisational theatre and dramatization has helped increase student intrinsic motivation to explore their potential vocation, has decreased absenteeism, has raised achievement levels, and enhanced the students’ overall understanding of life and wellbeing.

The study1 contextualises Adina Pintilie ́s recent work within the framework of corpoliteracy. To accomplish this, I introduced the concept of corpoliteracy as proposed by Bonaventure Soh Bejeng Ndikung, followed by my own expansion of the term as it applies to educational practices in art institutions. Body-semiotics and body- epistemologies will serve as entry points into a corpoliterate analysis of Pintilie’s work. This is a partial analysis that focuses on the body as a site for learning and unlearning but cannot cover all aspects of the multi-year, multi-media research conducted by Pintilie and her team. First, I chose an educational perspective, informed by recent methodologies and practices of museum education and artistic research, which are founded on practices of inclusion. Nevertheless, this perspective intersects with political, aesthetic, social, and institutional factors. Therefore, this approach is effective in terms of describing an artwork that manifests in domains before or beyond language. Second, I explored institutions as “social power plants” in order to examine how Pintilie’s practice relates to theories of radical museology. By applying the lens of corpoliteracy to Pintilie’s work as well as to the mediation practices of its exhibitions, the artistic quality and societal potency of the work can be addressed. Simultaneously, her artistic vision contributes to the expansion of corpoliteracy as a theoretical framework by continually challenging the institutions the projects manifest in. In the final section, I reflected on the mediation programme for Pintilie’s work, “You are another me. A Cathedral of the Body”, which attempted to put the aforementioned theory into practice.


 
 
 Starting with Théâtre décomposé ou L’Homme Poubelle (1996), a play whose “monologues and dialogues are merely the textual building-blocks for a modular theatre,” Matei Vişniec has championed this narrative diffraction which has been a hallmark of his work. It is nevertheless true that the fable has always underpinned the playwright’s creation. While this was at first an undercurrent in his early plays, it is clearly seen in his most recent productions, such as Pourquoi Hécube (2018), which draws directly from the fable of the Homeric story. It is our purpose to explain how Vişniec, in drawing from the fable, takes ownership of an ancient tradition by following in the footsteps of Euripides, and also is inspired by the mythological representation of Hecuba, making her a contemporary of Dorra, the main character of La Femme comme champ de bataille, ou du Sexe de la femme comme champ de bataille dans la guerre en Bosnie (1997).