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This article examines Netflix's recycling content strategies in the era of streaming cinema. It starts from the assumption that because of the different institutional logic at work in the land of SVODs, the affordances that recycled content brings may not be as effective (and necessary) as it has been in Hollywood. Using a database-centered approach, we analyze 658 Netflix Original films. Between 2015 and 2022, Netflix released 440 non-recycled Originals, showcasing a commitment to offering a high quantity of niche films. The dataset equally shows that the percentage of recycled films (33%) follow a linear upward pattern, highlighting the persistence of conservative content strategies. More specifically, (re-)adaptations constituted the biggest chunk of recycled content (68%), as these allow the streamer to quickly fill its catalog with recyclable IP. Netflix's inclination toward sequels (16%), spin-offs (6%), and prequels (2%) aligns with its sequelization strategy, while also leveraging its own IP. Remakes (8%) play a less significant role, likely due to the relatively young age of Netflix's content library. The article concludes that Netflix may, in fact, be less of a disruptive force to the film industry in terms of the diversity of its content creation, prompting further recycling of existing properties.

It is often assumed that there is a general absence of minorities represented in Japanese cinema, a statement which is justified by the Japanese official discourse that Japan contains"no minorities"1. The Japanese government"s response to the United Nations" call for the elimination of discrimination against minorities was an oficial statement that no minorities existed in Japan and therefore there is no discrimination against minorities in Japan. The statement added that Japan believed minority groups should not be discriminated against in those countries where they did exist".

Abstract
The appearance of the character of a femme fatale in Egyptian cinema in the mid-1950s is deeply intertwined with the new social and moral imprint made by the Nasserist regime. At a time when women's participation in the public sphere was regulated, the portrayal of the evil woman was intended to define how the good woman should behave as well as the terrible fate in store for those who dared to flout the limits. This evil woman was embodied in the character of the Oriental dancer who was to be seen, from that time on, as a fallen woman. This article aims to discuss the mutation of the character of the dancer from a bint al balad (lit. "girl of the country") to a femme fatale by analyzing three films starring two icons of the time, Hind Rustum and Tahia Carioca.

Abstract
The Ma-ori film-maker Barry Barclay used the term 'Fourth Cinema' to describe indigenous cinema, a philosophy based on his own practice as a director. He sought to privilege the indigenous gaze and the indigenous audience by centralizing te ao Ma-ori or the Ma-ori world-view in principle and in practice. However, much has changed in the world of film-making since Barclay developed his theory. The range of storytelling by Ma-ori on large and small screens has increased exponentially, and Ma-ori films such as Boy (Waititi, 2010) and Mt Zion (Kahi, 2013) have reached the top of the domestic box office, implying a wide Ma-ori and non- Ma-ori audience within the settler-centric culture of New Zealand. This article reviews and contextualizes Barclay's philosophy. It then uses his central concepts to examine the feature Mt Zion, exploring aspects of the film's text, production and distribution, to establish what conclusions can be drawn regarding the relevance of Barclay's thinking to the practice of a new generation of Ma-ori film-makers.

AbstractI propose that careful reading of films and film coverage provides a new research avenue for scholars interested in the social and cultural history of the 1950s and the 1960s in Lebanon. Looking specifically at the manner in which George Nasser's 1957 filmIla Ayn?(Where To?) embraces and modifies the generic conventions of neorealist melodrama to articulate anxieties over the effects of emigration on Lebanon, this article explores the manner in which contemporaneous cultural critics used the film to, in turn, express their dismay at migration from Lebanon. Reading the film closely for the affects it contains and for those it produced in its readers, I argue that this technique, attendant to both sides of this dynamic, affords us new insights into the manner in which cinema produced during Lebanon's golden period interacted with and complicated the dominant cultural narratives of that era.

Israeli documentary films of the 1940s and 1950s that deal with the Holocaust and Holocaust survivors point to the existence of a personal repressed Holocaust narrative in an era when such a narrative was stifled by the collective narrative of Holocaust and heroism. In these repressed narratives, remembrance of the Holocaust erupts in the present and disrupts the Zionist narrative that leads from the obliteration of the Diaspora past to the formation of the Israeli present and future. This is the narrative of people who remained foreign and "other" in Israeli society, who did not exchange their identities as Zionism expected of them. The films attempt to integrate these people into the Israeli collective, but their individuality, illuminated by the subversive reading, makes this integration difficult to achieve. The article analyzes the early documentary cinema in order to show that the survivors' personal narrative sabotages the national narrative from within.

Este artigo apresenta o resultado de uma revisão sistemática realizada a respeito da relação tripartida Cinema, Psicologia Positiva e Resiliência, tendo os próprios termos como descritores ou palavras-chave, em português e em inglês. Os artigos localizados foram avaliados a partir de título e resumo e, na sequência, inventariados tecnicamente e analisados qualitativamente. Inicialmente, foram localizadas mais de 2400 produções, sendo filtrados apenas 10 artigos que sinalizam a possível existência da relação tripartida proposta. Ao final, evidencia-se tal relação como uma lacuna na produção interdisciplinar, identificando uma área de pesquisa a ser explorada com profundidade.

Venezuela, one of the least-known countries in Latin America, is brilliantly spotlighted in Culture and Customs of Venezuela. This oil-rich nation sustained a stable democracy until the economic downturn in the 1980s, and changes in the social and political spheres will bring the country under increasing scrutiny from the outside world. Dinneen captures the sharp contrasts and immense variety of modern Venezuela. Students and interested readers will find engaging and authoritative overviews of the land, people, and history; religions; social customs; media; cinema; literature; performing arts