Relevant bibliographies by topics / Chinese at the cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chinese at the cinema'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Chinese at the cinema"

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.
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Wu, C. C. "Queering Chinese-language cinemas: Stanley Kwan's Yang Yin: Gender in Chinese Cinema." Screen 51, no. 1 (March 1, 2010): 38–53. http://dx.doi.org/10.1093/screen/hjp054.

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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Leung, Helen Hok-Sze. "Unthinking: Chinese • Cinema • Criticism." Journal of Chinese Cinemas 1, no. 1 (January 2006): 71–73. http://dx.doi.org/10.1386/jcc.1.1.71_7.

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Casas-Tost, Helena, and Sara Rovira-Esteva. "Chinese cinema in Spain." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 4 (September 9, 2019): 581–603. http://dx.doi.org/10.1075/babel.00109.cas.

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Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding the source film in Chinese; secondly, data on the translated film; and finally, information about paratexts related to the film in Chinese, Spanish and English. Through a quantitative and qualitative analysis of our data the main trends in Chinese-Spanish audiovisual translation from the mid-1970s to today are shown. Our results identify the most popular Chinese directors and the main genres and translation modalities. We point out the role of the translator and the importance of mediating languages; and, finally, we highlight the significance of distribution channels, particularly film festivals. This article aims at filling the gap with regard to research in audiovisual translation as an intercultural exchange between China and Spain.
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Ying, Xu. "Additional Chinese Cinema Periodicals." Asian Cinema 10, no. 1 (September 1, 1998): 221–22. http://dx.doi.org/10.1386/ac.10.1.221_7.

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Berry, Chris. "Chinese “Women's Cinema”: Introduction." Camera Obscura: Feminism, Culture, and Media Studies 6, no. 3 (September 1, 1988): 4–7. http://dx.doi.org/10.1215/02705346-6-3_18-4.

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Raju, Zakir Hossain. "Filmic imaginations of the Malaysian Chinese: ‘Mahua cinema’ as a transnational Chinese cinema." Journal of Chinese Cinemas 2, no. 1 (January 2008): 67–79. http://dx.doi.org/10.1386/jcc.2.1.67_1.

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Keyser, Anne Sytske, and Han The. "Recent Developments in Chinese Cinema." China Information 7, no. 4 (March 1993): 39–47. http://dx.doi.org/10.1177/0920203x9300700404.

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Dissertations / Theses on the topic "Chinese at the cinema"

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Zhang, Li-Fen. "After Mao : cinema and Chinese society : a sociological analysis of the Chinese cinema (1978-92)." Thesis, University of Leicester, 1995. http://hdl.handle.net/2381/34617.

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This theses, of primarily a sociological nature, aims to examine the emergence of post-Mao Chinese cinema and its embodied political culture, in responding, or adjusting, to the sweeping and sometimes rather turbulent process of the "open door" reform movement. The transformation of Chinese cinema, as a whole, is an area of relatively minor importance, when compared with other major agenda items on the reform programme (i.e., economic growth, financial and fiscal stability, etc.). Nevertheless, the case of Chinese cinema does provide us with a unique setting and perspective so as to reach a better understanding of the interrelationship of economic development, political evolution and the advent of cultural pluralism in post-Mao China. This study aims, in other words, to show how the economic and political changes are themselves manifested in the changing reality of the Chinese screen. Author has argued throughout this theses that the emergence of post-Mao Chinese cinema could be seen as a unique process of rehabilitating the notion of "every day life" and "civil society", both of which were heavily suppressed under Mao. This theses has paid special attention to the changing relations of film-makers audience and political authorities in China. The examination of how film censorship works has revealed the complexity of China's political and economic situation and dilemma. Market forces have helped the film-making to be able to sever its ties with the party without seeming politically offensive or provocative. The legitimate and politically favourable "market forces" have made the Chinese film-making equally legitimate to rehabilitate and revive the notion and fundamental elements of human life that a market economy could not survive without.
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Zhang, Rui. "Feng Xiaogang and Chinese cinema after 1989." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1128836737.

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Pu, Hong. "l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30007.

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Les travaux de thèse développe la longue histoire du cinéma chinois d'animation sur la période allant de 1920 à 1977, du début du 20e siècle jusqu'à la fin de la grande révolution culturelle prolétarienne. Le sujet de la thèse est : l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70. La problématique s'oriente vers le cinéma chinois d'animation qui s'intègre dans la propagande, l'idéologie ainsi que la politique du pouvoir dans différentes époques, selon une évolution esthétique et artistique. Depuis les premières générations de cinéastes qui imprègnent la plus haute direction politique dans leurs créations cinématographiques. J'ai donc travaillé sur les différents chef d'oeuvres de chaque genre du cinéma chinois d'animation ainsi que sur les travaux de leurs créateurs.Les travaux de recherche ont été rédigés en trois chapitres selon une démarcation de l'histoire de la Chine, qui correspond aux moments historiques importants et aux situations sociales d'enjeux en Chine : la création embryonnaire du cinéma chinois d'animation entre les années 20 et 40 avec l'objectif de décrire le processus amenant la naissance de cinéma chinois d'animation ainsi que les premières fonctions qui en ont été faites, comme arme de propagande ainsi que servir l'idéologie du parti communiste impliqué dans l'animation chinoise pendant la guerre mondiale et la guerre civil. Durant cette période, il y eut plusieurs couts-métrages en noire et blanc qui furent réalisé et produits, y compris le premier long métrage noir et blanc La princesse à l'éventail de Fer en 1941.Après la seconde guerre mondiale, Le cinéma chinois d'animation a été soumis à la seule idéologie omniprésence en Chine - le maoïsme - durant les années 50 60 et 70. Il atteignit son apogée en accompagnement d'une forte création esthétique et artisanale d'une génération de cinéaste toujours irremplaçable aujourd'hui. Il y eut de nouveaux genres du cinéma chinois d'animation qui parurent : comme la première animation en couleur, le papier découpé, le lavis animé, le premier long métrage en couleur - le roi singe. Toutes les animations sont produites par le studio d'art de ShangHai. Malgré que Le Studio d'art de Shanghai devint alors l'usine de production des Gardes Rouges et que le cinéma d'animation chinois fut forcé d'arrêter en raison de la tempête sociale de la Grande Révolution Culturelle Prolétarienne.Les travaux de thèse se conclut sur la fin de la grande révolution culturelle, et du décès du président Mao, avec pour thème des sujets comme : la rééducation des intellectuelles, la bande des quatre, la propagande, l'idolâtrie et les images paradoxales avec dizaines de animations révolutionnaire reflétant la situation sociale de la Chine.J'ai achevé la dernière partie de la thèse avec les difficultés de travail, le mariage le congé maternité et les travaux
The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work
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Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.

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Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
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Leung, Yee-man Yvonne, and 梁以文. "Ideology and the performance of gender in Chinese cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953633.

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Leung, Yee-man Yvonne. "Ideology and the performance of gender in Chinese cinema." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262038.

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Wei, Ti. "Global processes, national responses : Chinese film cultures in transition." Thesis, Loughborough University, 2002. https://dspace.lboro.ac.uk/2134/6903.

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Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.
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Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.

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As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.
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朱翹瑋 and Kiu-wai Chu. "Constructing ruins: new urban aesthetics in Chinese art and cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209609.

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Yang, Jing, and 杨静. "The construction of the Chinese woman in 1990s American cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.

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Books on the topic "Chinese at the cinema"

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Chinese national cinema. London: Routledge, 2004.

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Wimal, Dissanayake, ed. New Chinese cinema. Hong Kong: Oxford University Press, 1998.

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The Chinese cinema book. London: Palgrave Macmillan on behalf of the British Film Institute, 2011.

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Lim, Song Hwee, and Julian Ward, eds. The Chinese Cinema Book. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0.

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1979-, Zhu Yun, ed. Historical dictionary of Chinese cinema. Lanham: Scarecrow Press, Inc., 2013.

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Haydn, Smith Ian, ed. New Chinese cinema: Challenging representations. London: Wallflower, 2002.

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Ye, Tan. Historical dictionary of Chinese cinema. Lanham: Scarecrow Press, Inc., 2013.

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A companion to Chinese cinema. Malden: Wiley-Blackwell, 2012.

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Cornelius, Sheila. New Chinese cinema: Challenging representations. London: Wallflower, 2002.

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Zhou, Xuelin. Globalization and Contemporary Chinese Cinema. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4.

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Book chapters on the topic "Chinese at the cinema"

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Wang, Lingzhen. "Chinese Women's Cinema." In A Companion to Chinese Cinema, 318–45. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch17.

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Wang, Yiman. "Wartime Cinema." In The Chinese Cinema Book, 65–75. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_8.

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Xihe, Chen. "Chinese Film Scholarship in Chinese." In A Companion to Chinese Cinema, 467–83. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch25.

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Berry, Chris. "Transnational Chinese Cinema Studies." In The Chinese Cinema Book, 9–16. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_2.

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Xu, Gary G. "Chinese Cinema and Technology." In A Companion to Chinese Cinema, 449–65. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch24.

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Wang, Yiman. "Alter-centering Chinese Cinema." In A Companion to Chinese Cinema, 535–51. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch29.

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Braester, Yomi. "Contemporary Mainstream PRC Cinema." In The Chinese Cinema Book, 176–84. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_20.

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Fong, Rosa. "Cinema of Displaced Identity." In Contesting British Chinese Culture, 169–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71159-1_10.

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Yu, Sabrina Qiong. "Vulnerable Chinese Stars." In A Companion to Chinese Cinema, 218–38. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch12.

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Teo, Stephen. "Film Genre and Chinese Cinema." In A Companion to Chinese Cinema, 284–98. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch15.

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Conference papers on the topic "Chinese at the cinema"

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Xiaokang, Chen. "Nationality and Intersubjectivity of Transnational Chinese Cinema." In 2020 5th International Conference on Humanities Science and Society Development (ICHSSD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200727.181.

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Lin, Jia, and Lifen Cheng. "The relation between cinema, subtitled series and Spanish learning for Chinese students of Spanish language." In TEEM'18: Sixth International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284179.3284337.

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Yuan, Xiaoyan. "Analysis on the New Models of Chinese Cinema Movie Intellectual Property Operation Under the Epidemic Situation." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.098.

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Wang, Zhuo. "The Development of Chinese Cinema Culture and Its Influence on Movie Education at the Present Stage." In 2018 8th International Conference on Social science and Education Research (SSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sser-18.2018.153.

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Wu, Sidi. "A Comparison of the Representation of Women in Contemporary Chinese Cinema: The Fifth Generation and the Sixth Generation." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.400.

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Li, Hui, Sourav S. Bhowmick, and Aixin Sun. "CINEMA." In the 16th International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2452376.2452415.

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Lew, Michael. "Live cinema." In ACM SIGGRAPH 2004 Sketches. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1186223.1186369.

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Purvis, Martin K., and Andrew L. S. Long. "Software cinema." In Proceeding of the 24th ACM SIGPLAN conference companion. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1639950.1640079.

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Healy, Kevin J. "CINEMA tutorial." In the 18th conference. New York, New York, USA: ACM Press, 1986. http://dx.doi.org/10.1145/318242.318299.

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Healy, Kevin J. "CINEMA tutorial." In the 17th conference. New York, New York, USA: ACM Press, 1985. http://dx.doi.org/10.1145/21850.253084.

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Reports on the topic "Chinese at the cinema"

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Lingling Perry, Anna, Juyoung Lee, Rui Li, and Mary Lynn Damhorst. Image, social role and social weight of Chinese women on the cover of Popular Cinema from 1950 to 2012. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-810.

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Fenimore, Charles, and Mary Floyd. Digital cinema 2001 conference proceedings:. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6591.

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Berres, Anne Sabine, and James Paul Ahrens. Compression of the cinema database. Office of Scientific and Technical Information (OSTI), September 2015. http://dx.doi.org/10.2172/1215816.

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Fenimore, Charles, and Alexei Nikolaev. Software for viewing and converting digital cinema materials. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6814.

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Ruiz-Moreno, Sandra. Representations of the armed conflict in Colombian cinema. Revista Latina de Comunicación Social, 2010. http://dx.doi.org/10.4185/rlcs-65-2010-915-503-515-en.

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Kares, Robert John. In-Situ Visualization Experiments with ParaView Cinema in RAGE. Office of Scientific and Technical Information (OSTI), October 2015. http://dx.doi.org/10.2172/1223763.

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Girardi, Gherardo. Extended Case Study: Teaching and learning economics through cinema. Bristol, UK: The Economics Network, February 2008. http://dx.doi.org/10.53593/n178a.

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Gelfeld, Vicki. What Boomers Want: Insights into Cinema Experience Preferences and Behaviors. AARP Research, April 2018. http://dx.doi.org/10.26419/res.00223.001.

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Ledo Andión, M., AM López Gómez, and M. Pérez Pereiro. European cinema in the languages of stateless and small nations. Revista Latina de Comunicación Social, March 2016. http://dx.doi.org/10.4185/rlcs-2016-1097en.

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Gil Gascón, Fátima, and Salvador Gómez García. Women, engagement and censorship in the Spanish Cinema. 1939-1959. Revista Latina de Comunicación Social, 2010. http://dx.doi.org/10.4185/rlcs-65-2010-912-460-471-en.

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