Relevant bibliographies by topics / International Catholic Cinema Office

Contents

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

Academic literature on the topic 'International Catholic Cinema Office'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'International Catholic Cinema Office.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "International Catholic Cinema Office"

1

Richard, Philippe. "Representing Catholic Education Globally: The Role and Potential of the International Office of Catholic Education." Review of Faith & International Affairs 17, no. 4 (October 2, 2019): 89–93. http://dx.doi.org/10.1080/15570274.2019.1681778.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Long, Christian B. "Where is France in French Cinema, 1976–2013?" International Journal of Humanities and Arts Computing 9, no. 2 (October 2015): 180–95. http://dx.doi.org/10.3366/ijhac.2015.0148.

Full text
Abstract:
Using ArcGIS, this article maps the narrative locations of French cinema's box office successes and César du meilleur film winners against a self-consciously international version of prestige, the French submission for best foreign language film at the Oscars from 1976 (when the Césars began) to 2012. Mapping domestic consumption and prestige against the for-American-consumption vision of prestige and possible box office appeal will identify the settings that are associated with domestic and international locations of Frenchness. Do films that succeed at the box office connect themselves to France's main population centers—Paris, Lyon, Marseille, Lille—or to less-populated and economically vibrant regions, as with Bienvenue Chez les Ch'tis (2008) in Bergues? To what extent do prestige films seek out marginalized areas in which to set their stories, as in the Paris banlieues of La Haine (1996) or Sète in La Graine et le mullet (2008)? Do the films that France proposes to the Oscar voters address an imagined American preference for one part of France—Paris—over another, or do they turn to other, less globally-integrated locations? Where are the overlaps among these three categories? And where are the empty spaces that neither box office nor prestige address? This article will be a spatial history, drawing on Franco Moretti's ‘distant reading’ approach to groups of films to demonstrate the critical potential for mapping narrative locations as a way to conceive of the multiple nations—in this case France—that cinema imagines for its domestic and international audiences.
APA, Harvard, Vancouver, ISO, and other styles
3

Akopyan, A. R., A. M. Arakelyan, Yu V. Vorontsova, and V. V. Krysov. "Evaluation of approaches to the regulation of digital film distribution." Vestnik Universiteta, no. 4 (June 5, 2021): 32–36. http://dx.doi.org/10.26425/1816-4277-2021-4-32-36.

Full text
Abstract:
The article considers approaches to the state regulation of digital film distribution, evaluates them. The paper generalizes them in the form of proposals for anti-piracy regulation, promotion of original content of online cinemas in international markets, as well as for effective interaction of online cinemas with the Ministry of Culture and the Cinema Foundation. This will resolve the issue of serious competition to traditional cinemas, since the viewer has the opportunity to watch their favorite films without leaving home, and also related to the start of work on their own exclusive content of a large number of digital platforms. The state obliges digital platforms to provide information about the number of views of their content in a single automated information system. This information helps to assess the effectiveness of budget support for cinema, since there are examples of films that did not collect a large box office at the box office but were able to gain more than one million views on the Internet.
APA, Harvard, Vancouver, ISO, and other styles
4

Menendez-Otero, Carlos. "Cowboys and kings: The coming of age film in 1990s Irish cinema." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 5–33. http://dx.doi.org/10.5195/cinej.2015.123.

Full text
Abstract:
The article explores why in the 1990s many Irish filmmakers chose precisely a coming of age narrative to attempt to take the international box office by storm, and assesses some of the films that resulted from the attempt. First, it discusses the cultural roots and generic conventions of the Hollywood teen film, especially the rites of passage it has reified and its idealization of small-town, mid-century America. Second, it studies the economic and cultural reasons behind the (over)production of coming of age films in Ireland over the 1990s. Finally, we tackle how these films alternatively deviate from and rely on the conventions of the Hollywood coming of age film to meet investor demands and engage global audiences with Irish concerns.
APA, Harvard, Vancouver, ISO, and other styles
5

braester, yomi. "chinese cinema in the age of advertisement: the filmmaker as a cultural broker." China Quarterly 183 (September 2005): 549–64. http://dx.doi.org/10.1017/s0305741005000354.

Full text
Abstract:
the article looks at a model of filmmaking that has emerged since the rise of “cultural economy” in the mid-1990s. directors have collaborated with real estate developers and other entrepreneurs and become cultural brokers. they use the prestige, access and popular appeal of the cinema to establish a stronger connection between film and market forces. as filmmakers become trendsetters, their films aim not only at box office success but also at shaping economic agendas and visual experience, social networks and the aesthetic environment. filmmaking as cultural brokering has been practised by directors as disparate as the market-oriented feng xiaogang, the neorealist ning ying and the documentary producer wu wenguang.
APA, Harvard, Vancouver, ISO, and other styles
6

Boes, Lieven, Leen Engelen, and Roel Vande Winkel. "Clerics, laymen and cinema: The troubled relations between the Vatican and the Office Catholique International du Cinéma (1948–52)." Journal of Italian Cinema & Media Studies 5, no. 3 (July 1, 2017): 375–92. http://dx.doi.org/10.1386/jicms.5.3.375_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Leotta, Alfio. "From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery." Journal of Italian Cinema & Media Studies 9, no. 2 (March 1, 2021): 225–43. http://dx.doi.org/10.1386/jicms_00063_1.

Full text
Abstract:
The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.
APA, Harvard, Vancouver, ISO, and other styles
8

Norðfjörð, Björn Ægir. "Ljós í myrkri: Saga kvikmyndunar á Íslandi." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 19–42. http://dx.doi.org/10.33112/ritid.19.2.2.

Full text
Abstract:
This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay’s second half, the Fund’s support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.
APA, Harvard, Vancouver, ISO, and other styles
9

Shaw, Tony. "Nightmare on Nevsky Prospekt: The Blue Bird as a Curious Instance of U.S.-Soviet Film Collaboration during the Cold War." Journal of Cold War Studies 14, no. 1 (January 2012): 3–33. http://dx.doi.org/10.1162/jcws_a_00174.

Full text
Abstract:
Combining cinematic and diplomatic history, this article examines a curious relic of the détente phase of the Cold War, the fantasy-musical The Blue Bird. Released on the silver screen in 1976, The Blue Bird was the only U.S.-Soviet cinematic coproduction during the Cold War. The movie was made for a variety of commercial, artistic, and ideological reasons but failed to live up to expectations. The production was shambolic, critics were disdainful, and the film was a dud at the box office. The Blue Bird is largely forgotten nowadays, but the story of the film's production and reception sheds valuable light on the economics and politics of cross-bloc filmmaking. It also provides insight into the importance of cinema as an instrument of public diplomacy at the height of détente.
APA, Harvard, Vancouver, ISO, and other styles
10

Komonchak, Joseph A. "“The Crisis in Church-State Relationships in the U.S.A.” A Recently Discovered Text by John Courtney Murray." Review of Politics 61, no. 4 (1999): 675–86. http://dx.doi.org/10.1017/s0034670500050567.

Full text
Abstract:
In October 1950, John Courtney Murray, S.J., wrote for the use of Msgr. Giovanni Battista Montini of the Vatican Secretariat of State a memorandum: “The crisis in Church-State Relationships in the U.S.A.” An attempt by Murray to encourage a development of Catholic teaching on church and state and religious freedom that would enable American Catholics to give support in principle to the First Amendment of the U.S Constitution, the memorandum was submitted to some American churchmen and to the Vatican's Holy Office. The dossier here published for the first time includes the texts of Murray's memorandum and of responses to it written by Samule Cardinal Stritch and Fr. Francis J. Cornell, C.SS.R. The introduction to these texts sets the memorandum in context and explains the Holy Office's actions against Murray.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "International Catholic Cinema Office"

1

Yao, Kathryn S. "The Future of Chollywood: The Imminent Rise of China's Film Industry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/776.

Full text
Abstract:
The research in this thesis will focus on China’s increasingly important role in the global film industry, including the dynamic between the Chinese government, the Chinese film industry, and Hollywood. The first chapter gives a comprehensive overview of the history of artistic trends in postsocialist Chinese film since 1979. The following chapter provides a history of the commercial and economic developments regarding the Chinese film industry after Deng Xiaoping’s economic reforms and open door policy. In the third chapter, a detailed analysis of the different Chinese state entities and their functions provide insight into the history of the political and regulatory framework of the Chinese film industry. The fourth chapter examines Hollywood’s role and response to China’s burgeoning film industry and market including case studies of top western film companies that have been heavily involved with China. It also focuses on the challenges the domestic Chinese film industry faces in response to government censorship and competition from Hollywood. Finally, the conclusion offers predictions for the future state of the Chinese film industry, and discusses the implications surrounding the growing relationship between the China and Hollywood.
APA, Harvard, Vancouver, ISO, and other styles
2

Scheppler, Gwenn. "« Je suis le premier spectateur » : l’œuvre de Pierre Perrault ou le cinéma comme processus." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20017.

Full text
Abstract:
Cette thèse a comme objectif de comprendre comment l’œuvre de Perrault a interagi avec la société québécoise lors de la Révolution Tranquille et de ses prémisses. Nous focalisons en particulier notre attention sur la façon dont la démarche artistique du cinéaste a pu être influencée par la culture populaire québécoise, et comment elle a en retour réinvesti cette dernière. Nous analysons donc les relations entre l’œuvre du cinéaste et trois contextes distincts : les représentations de la nation québécoise et leur historicité au vingtième siècle ; la relation ambivalente entre cinéma et société québécoise depuis la naissance de cet art de masse ; les réminiscences de la tradition orale dans la culture populaire et le cinéma. Pour bien comprendre la démarche de Perrault et son inscription dans la société québécoise, nous proposons de considérer l’œuvre selon une perspective globale, qui embrasserait à la fois les films et les écrits ainsi que le dispositif de production et de diffusion des films, dans l’idée que tous ces éléments formaient en réalité un tout cohérent et indivisible dans l’idée que Perrault se faisait de son cinéma. Nous proposons donc l’idée que le « cinéma de la parole » doit s’envisager d’une façon inhabituelle : son cœur ou son sens ne sont pas spécifiquement localisés dans les films, ni même dans leur réception, mais dans un long « processus » d’échange qui s’initie avant le tournage et est supposé se poursuivre au-delà de la projection du film fini : ce serait ce processus d’échange, d’interrelation et de co-définition qui serait l’objet véritable du cinéma de Perrault, ou du moins est-ce ce que nous allons démontrer. Le concept de « processus », que nous développons tout au long de cette étude, constitue donc le cadre de notre analyse « contextuelle ». Il recouvre également la façon dont le cinéaste concevait son cinéma : notre analyse se place donc dans une perspective herméneutique.Ultimement, le fait de concevoir et d’analyser le cinéma de Perrault en terme de processus permet d’envisager une conception différente du cinéma basée sur l’exemple de ce cinéaste : un phénomène historique et socioculturel complexe intimement relié aux évolutions d’une société donnée, et dont les significations dépendent des contextes où il se déploie et avec lesquels il entretient un rapport d’échange
This thesis aims to a better understanding of the ways in which Pierre Perrault’s work interacted with Québécois society during the Quiet Revolution and with the ideas on which it was based.Specifically, it will focus on the way in which the filmmaker’s artistic conception might have been influenced by Québécois popular culture and how it has, in turn, reinvested it. I will analyse the relationships between the filmmaker’s work and three distinct contexts: the representations of the Québécois nation and their historicity in the 20th century; the ambivalent relationship between cinema and Québécois society since the birth of this mass media; and the reminiscences of oral tradition in popular culture and cinema.In order to properly understand Perrault’s creative practice an its inscription in the Québécois society, I propose to consider his work from a global perspective, which includes the films and the essays, as well as the film production and distribution, with the idea that all these elements formed in fact a coherent and indivisible whole in the ways in which Perrault thought of his filmmaking. I thus suggest the idea that the “cinéma de la parole” must be considered from a fresh perspective: its core or its meaning are not specifically found in the films themselves, nor in their reception, but in a long “process” of sharing that begins before the film’s recording and that is meant to continue beyond the screening of the finished work: the true aim of Perrault’s cinema is the very process of exchange, of interrelation and co-definition. The concept of “process”, which will be developed throughout this entire study, constitutes a frame for its “contextual” analysis. It also encompasses the way in which the filmmaker conceived his work as cinematographer; my analysis can thus be situated within a hermeneutic tradition.Finally, describing and analysing Perrault’s cinema in terms of process also allows us to consider a different conception of film based on Perrault’s example: a complex historical and socio-cultural phenomenon intimately tied to the evolutions of a given society, and whose meanings depend on the contexts in which it grows and with which it maintains a relationship based on exchange
APA, Harvard, Vancouver, ISO, and other styles
3

Scheppler, Gwenn. ""Je suis le premier spectateur" : l'oeuvre de Pierre Perrault ou le cinéma comme processus." Thèse, 2009. http://hdl.handle.net/1866/6639.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "International Catholic Cinema Office"

1

Soixante-dix ans au service du cinéma et de l'audiovisuel: Organisation catholique internationale du cinéma, OCCIC. [Saint-Laurent, Québec]: Fides, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

The cross and the cinema: The Legion of Decency and the National Catholic Office for Motion Pictures, 1933-1970. Westport, Conn: Praeger, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Skinner, James M. The cross and the cinema: The Legion of Decency and the National Catholic Office for Motion Pictures, 1933-1970. Westport, Conn: Praeger, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Gartlan, Jean. At the United Nations: The story of the NCWC/USCC Office for United Nations Affairs, 1946-1972. Baltimore, MD: Gateway Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Anders, Kindem Gorham, ed. The international movie industry. Carbondale: Southern Illinois University Press, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Admin United States Catholic Co and United States Catholic Conference. Relieving Third World Debt: A Call for Co-Responsibility, Justice, and Solidarity (Publication / Office for Publishing and Promotion Services,). Hunter Publishing (NJ), 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Guarneri, Michael. Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.001.0001.

Full text
Abstract:
The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian cinema mean? The aim is to show that – in spite of Italian vampire cinema’s imported and derivative nature, and its great reliance on profits coming from distribution on the international market – Italian cinematic vampires reflect their national zeitgeist from the economic miracle of the late 1950s to the mid-1970s austerity, twenty years of large political and socio-economic change in which gender politics were also in relative flux. The result of an original research into film production data, film censorship files, screenplays, trade papers, film magazines and vampire-themed paraliterature, the book leaves the well-trod track of award-winning art films to shed light on some of the so-called ‘lower forms’ of cinematic culture, looking for the economic backbone and cultural instrumentality of post-war Italian cinema in the run-of-the-mill genre movies rushed through a cheap production and into domestic and international distribution to parasitically (vampirically?) exploit a given commercially successful film.
APA, Harvard, Vancouver, ISO, and other styles
8

Turner, Peter. The Blair Witch Project. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733841.001.0001.

Full text
Abstract:
Few films have had the influence and impact of The Blair Witch Project (1999). Its arrival was a horror cinema palette cleanser after a decade of serial killers and postmodern intertextuality, a bare bones ‘found footage’ trendsetter. The Blair Witch Project was the tenth biggest box office earner of 1999. Even with strong competition in the horror genre, the film managed to stand out from the rest. It was arguably a product of its time more than any other film of the 1990s, heralding the advent of digital filmmaking. Backed up by an internet marketing campaign, The Blair Witch Project became a glowing example of what could be achieved with cheap emerging technology, imagination, and a ‘less is more’ approach. By the year 2000, and due to the influx of digital video cameras, there were far more independent features being made than ever before. This book explores the aesthetics of The Blair Witch Project, how identification is encouraged in the film, and the way it successfully creates fear in contemporary audiences. The book tells the story of the film from his conception and production, and then provides a unique analysis of the techniques used, their appeal to audiences and the themes that helped make the film such an international hit, including the pioneering internet marketing.
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "International Catholic Cinema Office"

1

Nordfjörd, Björn. "Criminal Undertakings: Nicolas Winding Refn, European Film Aesthetics, and Hollywood Genre Cinema." In Nordic Film Cultures and Cinemas of Elsewhere, 370–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0028.

Full text
Abstract:
This chapter explores Danish director Nicolas Winding Refn. Refn’s first feature Pusher (1996) was a local box-office success that helped usher in the era of the Nordic crime film, which includes his own follow-up Bleeders (1998) and two Pusher sequels (2004 and 2005). His American crime and gangster film, Drive (2011), is set in Los Angeles and is indebted to notable American classics of the genre. Reunited with Hollywood star Ryan Gosling, Refn continued to explore the international pedigree of the crime thriller in Only God Forgives (2013), where Gosling plays an American struggling to stay afloat in the Bangkok underworld. In Neon Demon (2016), Refn returns to Los Angeles, this time the world of fashion, where Hollywood gloss and European film aesthetics meet head-on. His three “American” films thus offer a striking blend of Hollywood genre and European art cinema traditions helping to explain their wildly mixed receptions.
APA, Harvard, Vancouver, ISO, and other styles
2

Conterio, Martyn. "Production and Reception." In Black Sunday, 31–48. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.003.0004.

Full text
Abstract:
This chapter analyses how Mario Bava's Black Sunday began production on 28 March at Scalera Film studios, which was considered an intense shoot that lasted six weeks and wrapped on 7 May. It describes 1960 as the 'annus mirabilis' for the industry, where the share of domestic box-office for Italian film reached 50 percent for the first time since the war. It also discusses Barbara Steele's foray into American cinema, which was a disaster and curtailed by her allegedly walking off set after a row with director Don Siegel, a few days into the making of the Elvis Presley vehicle, Flaming Star in 1960. The chapter describes marketing campaigns for Black Sunday that ramped up the promise of sex and violence. It demonstrates the American International Pictures' (AIP) liberal attitude to the cutting and shot removal of Black Sunday, which certainly nullified some of Bava's more graceful beats that faded to black during gory moments.
APA, Harvard, Vancouver, ISO, and other styles
3

Mazdon, Lucy. "Disrupting the Remake: The Girl with the Dragon Tattoo." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0002.

Full text
Abstract:
Recent years have witnessed a cycle of high profile Hollywood remakes of Scandinavian cinema, including such titles as David Fincher’s The Girl with the Dragon Tattoo, (USA, 2011), based upon the Swedish-Danish co-production, Män som hatar kvinnor/The Girl with the Dragon Tattoo (Niels Arden Oplev, 2009). This chapter argues that these remakes should be located within a much broader cultural phenomenon: namely, the huge international success of so-called “Nordic noir” or “Nordicana.” The location of these particular Hollywood remakes within a broader Scandinavian success story has enabled the production of films which do not entirely display the process of “Americanisation” so often meted out to other foreign remake sources. These remakes arguably reveal a type of “foreignising” atypical in the Hollywood remake. This chapter argues that in many ways this is a positive thing, blurring definitions of and distinctions between “national” cinemas. Nevertheless, the chapter concludes that the bottom line of box office returns suggests that even these transnational film remakes have very little impact on the continuing global predominance of Hollywood.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "International Catholic Cinema Office"

1

Wu, Yongzhong, Wentao Huang, Yuxin Lu, and Jiangwen Liu. "Box office forecasting for a cinema with movie and cinema attributes." In 2018 IEEE 3rd International Conference on Cloud Computing and Big Data Analysis (ICCCBDA). IEEE, 2018. http://dx.doi.org/10.1109/icccbda.2018.8386547.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'International Catholic Cinema Office' for particular source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography