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The article examines the importance of the classical sources for the painting "Circus Maximus," by French academic artist Jean-Léon Gérome. Topics discussed include the influence of this work on subsequent painting and cinema, the low interest in the painting among critics and specialists, and an explanatory letter that accompanied the painting after it crossed the Atlantic Ocean.

The article analyzes the film "24 Frames," directed by Abbas Kiarostami. Topics discussed include comparison of the film with director Mohsen Makhmalbaf's film "A Moment of Innocence, and Kiarostami's film "Through the Olive Trees," style of minimal editing and cutting used by Kiarostami in the film, and the use of cloudy painting in the motion picture.

The article analyzes the film "Japonisme and the Birth of Cinema," directed by Daisuke Miyao. Topics discussed include how the film provides a new perspective to the interdisciplinary discussion of the history of cinema and the discourse of Orientalism, filming techniques and Japanese paintings used in the film, and focus of the film on the two-way conversation between Japan and French cinematography. It also discusses images and photographs used in the film.

An interview is presented with Swedish filmmaker Roy Andersson. When asked about his transition away from realism, he talks about being inspired by the history of painting and filmmakers Federico Fellini and Luis Buñuel. When asked about the placement of actors in his films, he discusses the dancing in the film "A Pigeon Sat on a Branch Reflecting on Existence." Other topics include the artist Edward Hopper, digital filmmaking, and depictions of human existence in his Living Trilogy of films.

The article discusses the views of art historian Heinrich Wölfflin on art theory in relation to film criticism. Topics include the role of style in silent cinema in light of art history writing, the views on film critic André Bazin on film techniques, and the role of planimetric tableau style in film staging. The influence of painting style on film technique is noted. The relation of the history of film theory the the development of film as a medium is addressed. Wölfflin's book "Principles of Art History: The Problem of the Development of Style in Later Art" is noted.