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An Analysis of Gender Representation in <i>The Small Back Room</i> (1949): Considering Damaged Masculinity in British Cinema of the Postwar Era

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  • Jan 1, 2022
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Photography as “Anonymous Document”: The Formation of a New Realism of Photography in the Late 1960s and Early 70s Japan

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  • eizogaku
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  • Jan 1, 2022
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A New Life for Film: Film Analysis in the Digital Age

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  • Jan 1, 2022
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Toward Constructing a Theory of Point-of-Audition: Walter Murch’s “Metaphorical Sound” and Auditory Representation in Cinema

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  • eizogaku
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  • Jan 1, 2022
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Revisiting Visual (Culture) Studies from the Nonhuman

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  • Jan 1, 2022
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Artwork as “Cognizer”: A Case Study of “exonemo: UN-DEAD-LINK Reconnecting with Internet Art”

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  • eizogaku
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  • Jan 1, 2022
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Women’s Creative Contributions to the Shôchiku Kamata Studio: Matsui Chieko’s Activities as an Actress and a Screenwriter

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  • eizogaku
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  • Jan 1, 2022
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Moving Panorama as the Origin of Multi-layering in Cel Animation

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  • eizogaku
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  • Jan 1, 2022
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WADA-MARCIANO Mitsuyo, <i>Japanese Filmmakers in the Wake of Fukushima: Perspectives on Nuclear Disasters</i>

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  • eizogaku
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  • Jan 1, 2022
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Approaches in Film and Images Studies

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  • Jan 1, 2022
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