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      <title>The Politics of Silence and Noise in U.S. Film and Television</title>
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      <title>Rewriting a silencing system: the superficial activism of Ryan Murphy’s Hollywood (2020)</title>
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      <title>Onscreen Ambivalence of Silence and Voice: Mollie’s Silences in Martin Scorsese’s Killers of the Flower Moon (2023)</title>
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      <title>Necessity Has No Law: Brawl in Cellblock 99 and the Counterfeit Aesthetics of Trumpian Populism</title>
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      <title>Imitations of Life: From the Biopic to Self-Portraiture in Kevin Spacey’s Beyond the Sea</title>
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      <title>Adaptation, Experimentation, and Performance: Al Pacino’s Wilde Salome</title>
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      <title>Reflections on Borders and their Crossing in Lars von Trier’s Dogville (2003)</title>
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      <title>Introduction</title>
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      <title>No Suture: Screen Borders in Jim Jarmusch’s Films</title>
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      <link>https://catalogue.univ-orleans.fr/Record/openedition-oai:revues.org:filmj_313</link>
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      <dc:date>2023</dc:date>
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      <title>“Putting the Show Over”: Fade-In Prologues as Border Crossing in the Reception Space of 1920s American Film Exhibition</title>
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      <title>Metaleptic Vertigo: Temporal and Generic Crossovers in The Singing Detective</title>
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      <title>Vincente Minnelli’s Melodrama Some Came Running and the Crossing of Borders</title>
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      <title>The Barber as an Ambivalent Americana Icon in The Man Who Wasn’t There (Coen, 2001): Crossing the Borders Between Arts and Genres</title>
      <pubDate>Sun, 01 Jan 2023 22:20:22 +0100</pubDate>
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      <title>From Making of to “Generic Oddity”: The Case of Lost in La Mancha (Keith Fulton and Louis Pepe, 2002)</title>
      <pubDate>Sun, 01 Jan 2023 22:20:22 +0100</pubDate>
      <link>https://catalogue.univ-orleans.fr/Record/openedition-oai:revues.org:filmj_323</link>
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      <title>Sherlock Holmes Crosses Borders</title>
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      <title>Double Crossing Boundaries: Could Alice in Wonderland’s Red Queen Be Fictitious Within Fiction?</title>
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      <title>Generic confluence as the art of ideological peddling: Attack the Block (Joe Cornish, 2011)</title>
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      <title>The Ninth Life of Louis Drax: from text to film</title>
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      <title>Gemma King, Jacques Audiard, Manchester: Manchester University Press, 2021</title>
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      <title>Actors Behind the Camera: Introduction</title>
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      <title>Authoring Oneself: The Refusal of Performance as Cinematic Authorship in Ralph Fiennes’ Coriolanus</title>
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      <title>The Conflicted Self-Construction of the Actor-Director: Tim Roth’s The War Zone</title>
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      <title>The Frontier Within: White Fawn’s Devotion (James Young Deer, 1910) and Frankenstein (J. Searle Dawley, 1910)</title>
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      <title>Introduction: Corruption and Cinema</title>
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      <title>Rethinking Women’s Cinema as Generic Corruption: the case of Debra Granik’s Winter’s Bone (2010)</title>
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      <pubDate>Wed, 01 Jan 2025 22:20:22 +0100</pubDate>
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      <link>https://catalogue.univ-orleans.fr/Record/openedition-oai:revues.org:filmj_1132</link>
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      <pubDate>Mon, 01 Jan 2024 22:20:22 +0100</pubDate>
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