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	The Princess and the Frog di Ron Clements, John Musker, 2009 The last thing parents taking their children out to watch a Disney movie want to hear about is politics. If the blogosphere is any indication of the educated African American public's reception of The Princess and the Frog, it seems the Disney magic and promise of wonderment can only function with the caveat that we shouldn't try to read too much into it, but "simply" enjoy the artwork "through children's eyes." [en] Political Subtexts in The Princess and the Frog and Kirikou and the Sorceress by Cécile Coquet-Mokoko

	Kirikou and the Sorceress di Michel Ocelot, 1998 The last thing parents taking their children out to watch a Disney movie want to hear about is politics. If the blogosphere is any indication of the educated African American public's reception of The Princess and the Frog, it seems the Disney magic and promise of wonderment can only function with the caveat that we shouldn't try to read too much into it, but "simply" enjoy the artwork "through children's eyes." [en] Political Subtexts in The Princess and the Frog and Kirikou and the Sorceress by Cécile Coquet-Mokoko

	Otto; or, Up with Dead People di Bruce La Bruce, 2008 Through considerations of the films My Own Private Idaho and Otto; or, Up with Dead People, this paper investigates the queer body as it intersects vampirism, narcolepsy, and zombiefication. This body, as it is economically deployed through hustling, deviates from the spatio-temporal coordinates conditioned by the family unit after the rise of industrial capital. [en] Narcos, Necros, And Homos by Daniel Sander

	My own Private Idaho di Gus Van Sant, 1991 Through considerations of the films My Own Private Idaho and Otto; or, Up with Dead People, this paper investigates the queer body as it intersects vampirism, narcolepsy, and zombiefication. This body, as it is economically deployed through hustling, deviates from the spatio-temporal coordinates conditioned by the family unit after the rise of industrial capital. [en] Narcos, Necros, And Homos by Daniel Sander

	Daremo shiranai di Hirokazu Koreeda, 2004 The topic of the family is very recurrent in Japanese cinema. This article focuses on four specific films in order to study how the Japanese family has evolved over time. Through the contrast of films by Ozu and Koreeda, special attention is paid to the to the internal relationships between the members of multigenerational Japanese families. [en] The Japanese family through Ozu’s and Koreeda’s cinema by Ana M. Caro-Oca and Francisco J. López-Rodrígu

	Ohayô di Yasujirô Ozu, 1959 The topic of the family is very recurrent in Japanese cinema. This article focuses on four specific films in order to study how the Japanese family has evolved over time. Through the contrast of films by Ozu and Koreeda, special attention is paid to the to the internal relationships between the members of multigenerational Japanese families. [en] The Japanese family through Ozu’s and Koreeda’s cinema by Ana M. Caro-Oca and Francisco J. López-Rodrígu

	Tokyo monogatari di Yasujirô Ozu, 1953 The topic of the family is very recurrent in Japanese cinema. This article focuses on four specific films in order to study how the Japanese family has evolved over time. Through the contrast of films by Ozu and Koreeda, special attention is paid to the to the internal relationships between the members of multigenerational Japanese families. [en] The Japanese family through Ozu’s and Koreeda’s cinema by Ana M. Caro-Oca and Francisco J. López-Rodrígu

	Aruitemo, aruitemo di Hirokazu Koreeda, 2008 The topic of the family is very recurrent in Japanese cinema. This article focuses on four specific films in order to study how the Japanese family has evolved over time. Through the contrast of films by Ozu and Koreeda, special attention is paid to the to the internal relationships between the members of multigenerational Japanese families. [en] The Japanese family through Ozu’s and Koreeda’s cinema by Ana M. Caro-Oca and Francisco J. López-Rodrígu

	Tropa de Elite di José Padilha, 2007 In many cinemas in the city of Rio de Janeiro, Brazil, the film Elite Squad (2007), directed by José Padilha, was enthusiastically applauded by the public which, faced with the threat of urban crime, communicated in their applause their wish for a return to the previously existing equilibrium. [en] Movie and war on crime in Rio de Janeiro by José Maurício Saldanha Alvarez

	Honogurai mizu no soko kara [Dark Water] di Hideo Nakata, 2002 This article compares maternal discourses and the melodramatic representational strategies used in The Japanese Dark Water and its US remake Dark Water. Evident in the translation process from the Japanes to the US text is a foregrounding of conventional dichotomies of bad and good mother and the demonisation of maternal authority. Ultimately, the article suggests that where the Japanese text emphasises the social barriers which produce maternal issues, the US text perpetuates traditional and restrictive notions of patriarchal, socially sanctioned motherhood. [en] A Comparative Analysis of Motherhood in the US and Japanese Dark Water films by Sarah Arnold