Open research questions in Cinema and Media Studies
62 unresolved questions extracted from the limitations and future-work sections of 6,367 Cinema and Media Studies papers in our library. Each links back to the study that raised it.
What the literature leaves open
6 2 / 2 . p . 5 1 . 7 1 . 6 2 0 2 A C I G O L O L I H P O O Z исследовательских методов: на анализ филь- ма, кинокритический дискурс и восприятие неспециализированной аудиторией. Ее теоре- тические основы черпают как из киноведения, так и из исследований животных. В тексте сопоставляются замыслы режиссера, воспри- ятие СМИ и оценка критиков с точкой зрения взрослых зрителей, а также исследуется вли- яние таких техник, как антропоморфизация, на эмоциональную вовлеченность. Два фоку- сированных интервью показывают различия в оценке социальной значимости фильма и его воздействия между специализирован- ной и широкой аудиторией. Ключевые слова: антропоцентризм, эмпатия, исследования аудитории, фокусированные интервью, зооцентрическая перспектива Jerzy Skolimowski’s film EO had its world premiere at the 75th Cannes International Film Festival in May 2022. The film by Polish director received the Jury Prize, which opened a series of other awards. EO also secured six Eagles (Polish Film Acade- my Awards), two European Film Academy’s awards, recognition from the Ameri- can Society of Film Critics and the Los Angeles Film Critics Association, as well as an accolade from the New York Film Critics Association and at the Valladolid Film Festival. Additionally, it earned a nomination for the Academy Award for Best International Film in 2023. EO tells the story of the titular donkey, who embarks on a journey around the world, encountering various adventures and injustices, all results of human actions. The director employs a variety of aesthetic elicitors, both narrative and stylistic, with the purpose of making EO the central protagonist and presenting the story from his unique perspective. Skolimowski’s work quickly gained recognition in the media discourse. Journal- ists and critics highlighted the innovative plot and the attempt to depict an animal perspective that remains inaccessible to humans.1 The film was celebrated as a man- ifesto advocating for the rights of nonhuman animals, an ecological essay, and an earnest plea for people to reflect on their treatment of other Earth inhabitants.2 In 1 Manohla Dargis, “EO Review: Imagining the Lives of Other Creatures,” The New York Times, November 17, 2022, accessed April 18, 2025, https://www.nytimes.com/2022/11/17/movies/eo-re view-donkey.html. 2 Bartosz Staszczyszyn, “ ‘Io,’ reż. Jerzy Skolimowski,” Culture.pl, accessed April 25, 2024, https:// culture.pl/pl/dzielo/io-rez-jerzy-skolimowski.
While scholarship on AI tools in the creative industries has expanded rapidly in recent years, studies focusing on the screen industries – particularly on AI-driven analytics systems used in screenplay evaluation – especially from a practice-led perspective, are still scarce.
More generally, we distilled two encompassing principles that administer the remake practice: even though a great deal of the remake process can be explained through the concept of localization – or, more precisely, through the concepts of ‘manufacturing proximity’ and ‘banal aboutness’ – we found that it should certainly not be limited to these processes – as both (trans)textual, such as the mechanism of ‘filling in the gaps’, and contextual elements were found.
Local flavors and regional markers: The Low Countries and their commercially driven and proximity-focused film remake practice · 2019 · DOIIt is perhaps surprising that this topic remains unexplored, given the ongoing cross-medial nature of pop and audiovisual media evidenced by the recent ecstatic reception of Beyoncé's Lemonade and the ubiquity of televisual "backstage" industry musicals (Empire, Star, Nashville, Sun Records, The Get Down, Vinyl, etc.
Yet the relationship between Hollywood and America's actual ambassadors, employed by the global network of American embassies, has rarely been investigated, despite the key role that this often overlooked aspect of the state apparatus plays in the maintenance of Hollywood's commercial interests and American cultural hegemony.
Focusing on understudied Shanghai and Hong Kong remakes of Hollywood films and Hong Kong remakes of Shanghai and Hollywood films, Wang contends that discourse on film should consider such cultural phenomenon as location-specific and highly historicized events, in sense that film remakes always depend on contemporary social and realities and should be understood as symptomatic of how Chinese Self negotiates foreign Other.
Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong, and Hollywood by Yiman Wang (review) · 2015Further research into DeMille studies, the expansion of the above-constructed categories, and other autobiographical reminiscences about Tinsel Town is warmly recommended; whether as history, art or entertainment.
DeMille and Danger: Seven Heuristic Taxonomic Categories of His Hollywood (Mis)Adventures · 2013 · DOIThis article aims to revalorize how an understudied Spanish experimental cinema movement known as the Barcelona School or EdB (1960–1970) resisted Franco's dictatorship through avant-garde filmmaking.
Intermediality and Spanish experimental cinema: text and image interactions in the lyrical films of the Barcelona School · 2013 · DOIThis paper finds the perspective of Singaporean films to have overlooked colonialism as a significant part of Singapore's cultural identity and argues that greater consideration of that history can not only illuminate contemporary films, but also expand film scholarship to include understudied films from Singapore's ‘golden age’ of filmmaking from the 1950s to early 1970s.
Further research into DeMille studies, Hollywood epics, and the emerging interdisciplinary field of religion-and-film is recommended, warranted, and already long overdue.
Judas Iscariot: The Archetypal Betrayer and DeMille’s Cine-Biblical Salvation within The King of Kings (1927) · 2008 · DOILen Deighton's book, although not well known among sociologists, provided as early as 1972 a profound and shrewd analysis not only of the American movie industry, its milieux and culture of deception and their influence on old Europe, but also of the more general mechanisms of a radical marketisation of the self.
The Marketing-Character in Fiction: Len Deighton's <i>Close up</i> (1972) as a Sociological Description of Post-War Hollywood and the Process of Americanisation · 2006 · DOIField 44115 for Avenue, N.W., Cleveland, Ohio the address of the Division Office in your area.) Programs Manager, 101 1. Classic Antiquing - Describes how to antique greatest advantages of antiquing, and the various effects which may be obtained by using different techniques. fu.rniture, the 2. Carpeting . .. the Sixth Wall- Explains how to buy carpeting. What facts you need to know before you buy, what kind of carpeting you need for various life styles and room decors.
Field 44115 for Avenue, N.W., Cleveland, Ohio the address of the Division Office in your area.) Programs Manager, 101 1. Classic Antiquing - Describes how to antique greatest advantages of antiquing, and the various effects which may be obtained by using different techniques. fu.rniture, the 2. Carpeting . .. the Sixth Wall- Explains how to buy carpeting. What facts you need to know before you buy, what kind of carpeting you need for various life styles and room decors.
The State of the Art TOWARD A PSYCHOLINGUISTICS OF CINEMA: 5 5 tandy, no scientific psychology of cinematic communication. Carroll (4, P. vii) has urged that "... the psychological study of language and thought requires first an accurate knowledge of what language is." A comparable knowledge is no less required for the psychological study of cine-language and thought. The present paper seeks to review some significant aspects of the problem and to suggest avenues through which these aspects might be investigated. It is hoped that an expanded base for future research on film can be defined thereby. In a historically short period, the motion picture has developed from a rudimentary recording device to a system of communication capable of conveying complex ideas with subtlety and sophistication. The increased sophistication of filmic communication is evident in the continuing development and differentiation of the "grammatical" conventions of cinema as an art form. The effects of these developments can be observed throughout the entertainment film and television industry, even in television advertising. They are most clearly illustrated by the contrast between filmed television shows and the late (old) movies. As one example, TV Guide, a magazine with a circulation of approximately nine million, has the following comment about a recent television program: We cut from flash-back to new scenes in the middle of lines and even once in the middle of a word. "She was nine--," says one character at the end of one scene; "--teen," says the next character, picking it up for a whole new scene (2). The significance of this comment is that it could be used in describing the then avant-garde ~94x film entitled Citizen Kane. As late as x953, this convention was characterized by a knowledgeable observer as a "rather unorthodox example" of editing (44, P. ~ 5), yet in ~964 it was part of the common experience of the millions who read the magazine and the larger millions who watched the show. By contrast, the controversy and heterogeneity of opinion surrounding the film Last Year at Marienbad suggest that much of its structure is not yet conventional. It is a "frontier" film today, as Citizen Kane was in x94~. The history of motion pictures has been a history of continual elaboration and differentiation.
the attitude cinema, will work out his own scheme of work, with differing emphases on various aspects of film language, technique, history, aesthetics, etc. There is great diversity and scope here, as indeed there should be. towards and My own four-year course has three major aims: to make articulate filmgoers; to provide them with defences against exploitation; and to provide them with means of expression in film itself. To these ends, I give series of lessons which can be roughly grouped as: The Grammar and Vocabulary of Film and Film Criticism; How Films Work, Who Make Them, and How Films Started; Film-Scripting and Film-Making Exercises. Film-making by Children: As a group exercise, either as part of classroom work or as an out-of-school activity in its own right, this has proved a valuable Downloaded by [New York University] at 21:11 08 January 2015 44 THE SPEECH TEACHER form of film teaching, and there are now in existence well over 150 short 16mm and 8mm story-films which have been scripted, directed, photographed, acted and edited by British school-children, with the teacher acting as producer-supervisor. Three festivals of these films have been held in London, a national newspaper now awards annual prizes and to the "movement" has spread other European countries, notably France, Holland and Western Germany. Some of us are concerned about the increasing public interest in this manifestation, and are wary that it should not turn into a cult similar to that which has been built up around children's painting—the cult of Dr. Johnson's dancing dog, where interest centred on the unusualness of the performer rather than on the quality of the performance. The educational value of these exercises lies rather in the process than in the product, and what may appear to the outsider a filmic failure may have been equally valuable to its young makers in teaching them about the potentialities of film as a medium of expression. lectures given at Other aspects of film teaching include the illustrated the National Film Theatre in school-time to audiences of 500 London schoolchildren; the development through a series of international conferences of a European film education group; the approval last year by the British Board of Film Censors of our pioneer work with the statement: "The experimental stage the in film development of film education lies in the training of teachers, and the moves towards its establishment as a university subject. teaching is now past"; to this country, Let me conclude with some references to the society's work in television.
This article contributes to ecocritical scholarship by examining a still underexplored facet of screen production: the practical and digital fabrication of on-screen assets such as props and costumes.
Artoo-Detoo’s Footprint: Star Wars and the Environmental Impacts of Practical and Digital Filmmaking · 2026 · DOIHow do social and stylistic relations in cultural fields coevolve under changing contextual conditions? Artistic communities cohere through collaborations and shared stylistic orientations among artists, but little is known about the structure and interplay of these relational processes.
Communities of Style: Artistic Transformation and Social Cohesion in Hollywood, 1930 to 1999 · 2024 · DOIEven as Black feminist media has gained more critical and popular attention in recent years, the behind-the-scenes labor of film programming—especially in earlier periods—remains largely underappreciated and understudied.
In addition to offering an analysis of these understudied works, the article situates them within a corpus of other Québécois films featuring Indigenous characters and considers them through the wider lens of cinéma-monde.
Racial politics in animated films has long been an important topic for scholars, but racial diversity in the casting of voice actors for animated films has been understudied.
No Face, No Race? Racial Politics of Voice Actor Casting in Popular Animated Films<sup>1</sup> · 2023 · DOIThis study aims to take steps towards filling this gap in knowledge by conducting an analysis of his camera craftsmanship development in his last movie which despite the apparent cinematography resemblance with his contemporary directors, slightly differs in function.
Despite the large number of researches on Romanian New Wave moviemakers, few studies have been carried out to examine this young director's movies belonging to the so-called second wave.
Although the determinants of films’ box office performance have been extensively examined in the past, there is a gap in the literature with regard to how the mediation effect of age ratings for movies on the relationship between content elements and box office performance differs across cultures.
Do sex and violence sell internationally? A moderating role of cultural differences in the mediation effect of age ratings on the relationship between films’ content elements and worldwide box office performance · 2022 · DOIWhile Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.
As we quickly realized, there is no agreement yet on the proper form that videographic criticism should take in order to qualify as scholarly practice, something that can generate excitement but also anxiety in practitioners, students and teachers ('is what I am making legitimate scholarship…?').
Most-cited papers in Cinema and Media Studies
- Interactive influence of genre familiarity, star power, and critics' reviews in the cultural goods industry: The case of motion pictures · Psychology and Marketing · 2005 · 95 citations
- The effectiveness of movie trailer advertising · International Journal of Advertising · 2015 · 44 citations
- Revenue‐Sharing in Movie Exhibition and the Arrival of Sound · Economic Inquiry · 2002 · 32 citations
- When Taylorism Met Revolutionary Romanticism: Documentary Cinema in China’s Great Leap Forward · Critical Inquiry · 2020 · 25 citations
- Netflix in Mexico: An Example of the Tech Giant’s Transnational Business Strategies · Television & New Media · 2022 · 23 citations
- Border Exchanges: The Role of the European Film Festival · Journal of Contemporary European Studies · 2007 · 21 citations
- Racial Valuation: Cultural Gatekeepers, Race, Risk, and Institutional Expectations of Success and Failure · Social Problems · 2020 · 20 citations
- Filmic geographies: the rise of digital film as a research method and output · Area · 2016 · 19 citations
- Doing film geography · GeoJournal · 2022 · 19 citations
- In-depth study of Netflix’s original content of fictional series. Forms, styles and trends in the new streaming scene · Communication & Society · 2021 · 18 citations
Most recent work
- Be super, be white: perceptions of representation and inclusion in superhero films from a Mexican audience · Critical Studies in Media Communication · 2026
- Amélie Revisited: From Caméra-Stylo To Artificial Pen · International Journal of Arts, Humanities & Social Science · 2026
- The film The Golden Train (1986) – Polish-Romanian co-production of a missed opportunity? · Swedish Journal of Romanian Studies · 2026
- Revisiting the Effect of Star Power and Award History on Opening Month Box Office Performance · Society · 2026
- Freud’s Uncanny and the Proscenium Stage · Thewis · 2026
- Restorative media practices and affective identification: marketing breakthroughs and audience construction of marginal art films · Advances in Humanities Research · 2026
- Masters of the Universe shows how companies learned to monetise childhood forever · 2026
- Steve McQueen: Interviews (Conversations with Filmmakers Series) · Historical Journal Of Film Radio and Television · 2026
- To the Back of Beyond with Bob Peck: An Interview · Proceedings of the American Philosophical Society held at Philadelphia for promoting useful knowledge · 2026
- The Impact of Digital Technology on Traditional Filmmaking: Challenges and Opportunities · Journal of the West · 2026
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