Volume 18 of our international Film and Media Studies journal has just been published
02/11/2020 11:58 PM

PICTURING WORLDS, ENGAGING AUDIENCES

• Ying Zhu
  Travel Down Memory Lane: Nostalgia and Nostophobia in Youth (2017)
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 9−26     Full text in PDF
• György Kalmár
  Angry Old Men in Post-Crisis European Cinema
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 27−56     Full text in PDF
• Hajnal Király
  Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 57−71     Full text in PDF
• Zoltán Szabó
  The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 73−87     Full text in PDF
• Anastasiia Drozdova and Vladimir Petrov
  Modern Classic in the Web Environment: Narrative Variations of V. Nabokov's Lolita in Fanfition
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 89−107     Full text in PDF
• Mihály Lakatos
  Sights and Sounds of Big Data: Ryoji Ikeda's Immersive Installations
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 109−129     Full text in PDF
  
  SPECIAL DOSSIER: THE SOCIAL HISTORY OF HUNGARIAN CINEMA
• Balázs Varga
  Conflct Types in Hungarian Film History
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 133−171     Full text in PDF
• Zsolt Pápai
  Distressed Glamour. Genres and Political-Social Context in Hungarian Cinema of the 1930s and 1940s
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 173−193     Full text in PDF
• Györgyi Vajdovich
  The Representation of Women and Female Mobility in Hungarian Films between 1931 and 1944
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 195−221     Full text in PDF
• Beja Margitházi
  Up the Slope. Women's Mobility Stories in Post-Transition Hungarian Cinema
  Acta Universitatis Sapientiae, Film and Media Studies, 18 (2020) 223−230     Full text in PDF