| 6051 | Identity, Cultural Representation and Feminism in the Movie… (10.5195/cinej.2011.9) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6052 | The Avenging Females: A Comparative Analysis of Kill Bill Vo… (10.5195/cinej.2012.40) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6053 | Historical “Truth,” Constructed Memory: Restaging Germany’s… (10.5195/cinej.2012.41) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6054 | Necessary Fictions: From Cinéma vérité to Ciné, ma vérité(s) (10.5195/cinej.2012.42) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6055 | Secrets, Trauma, and the Memory Market (or the return of the… (10.5195/cinej.2012.43) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6056 | Seeking God in Early Bergman: The Cases of The Seventh Seal… (10.5195/cinej.2012.45) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6057 | Garden of Ambivalence The Topology of the Mother-child Dyad… (10.5195/cinej.2012.48) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6058 | Editorial (10.5195/cinej.2012.59) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6059 | Same Story But Different Cover: The Substitution Principle i… (10.5195/cinej.2013.55) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6060 | Chop Shop and Foreign Parts settle on the fuzzy boundary bet… (10.5195/cinej.2013.68) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6061 | Editorial (10.5195/cinej.2013.75) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6062 | Fiction Criticizing Reality: Abbas Kiarostami and the Cracke… (10.5195/cinej.2013.77) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6063 | The Otolith Group’s “Monuments to Dead Television.” Independ… (10.5195/cinej.2013.78) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6064 | The Body As Cogito: A Certain Contemporary Film In The Light… (10.5195/cinej.2013.79) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6065 | Book Review: Screen Distribution and the New King Kongs of t… (10.5195/cinej.2013.82) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6066 | The Role Of The Refugee And The Impact Of Fragmented Identit… (10.5195/cinej.2013.84) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6067 | Festival Review: TIFF 2013, The Neoliberal Labyrinth of Cine… (10.5195/cinej.2013.85) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6068 | Pattern of the Body Image in La Maison en Petits Cubes on t… (10.5195/cinej.2013.86) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6069 | Editorial: Thank You to CINEJ Reviewers (10.5195/cinej.2013.90) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6070 | Review of Masculinity and Gender in Greek Cinema (10.5195/cinej.2014.102) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6071 | Review of Dark Energy: Hitchcock’s Absolute Camera and the P… (10.5195/cinej.2014.105) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6072 | Review of The Drift: Affect, Adaptation and New Perspectives… (10.5195/cinej.2014.107) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6073 | Review of Postfeminism and Paternity in Contemporary U.S. Fi… (10.5195/cinej.2014.108) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6074 | Review of Vertov, Snow, Farocki: Machine Vision and the Post… (10.5195/cinej.2014.109) | References ORCID License | 0.00 | 0 | 2158-8724 |
| 6075 | Review of Terrence Malick: Film and Philosophy (10.5195/cinej.2014.112) | References ORCID License | 0.00 | 0 | 2158-8724 |