T. ;. Mattelart and R. Lobato, Audio-visual piracy: towards a study of the underground networks of cultural globalization, Global Media and Communication, vol.5, pp.15-36, 2008.

, le monde a été divisé en grandes zones avec un code chiffré (1 pour l'Amérique du Nord, 2 pour l'Europe et le Moyen-Orient, etc.) Ce codage rend les DVD illisibles pour les lecteurs hors de la zone pour laquelle ils ont été produits, sauf dans le cas des disques compatibles toutes zones comme ici HU, Brian, Afin de gérer les droits et la commercialisation des films, vol.1, p.1, 2006.

L. ;. Devaine, . Himelstein, and Y. Morgan, Genèse des théâtres de banlieue rouge et paradoxes du communisme municipal, Drama was a weapon: the left-wing theatre in, vol.1, pp.55-69, 1929.

J. ;. Farchy and P. Chantepie, Les industries culturelles à l'heure de la numérisation, Annales des Mines-Réalités industrielles, vol.5, pp.142-153, 2006.

J. ;. Augros and A. Jäckel, Cultural cooperation in Europe: the case of British and French cinematographic co-productions with Central and Eastern Europe, Questions de communication, vol.19, pp.111-120, 1997.

. Drieu-cloé, Écrans d'Orient, Propagande, innovation et résistance dans les cinémas de Turquie, d'Iran et d'Asie centrale (1897-1945), Karthala IISMM, 2015.

W. A. Callahan, History, identity, and security: Producing and consuming nationalism in China, Critical Asian Studies, vol.38, issue.2, pp.179-208, 2006.

P. ;. Grenier and H. Blakkisrud, Female Heroes in a Man's World: The Construction of Female Heroes in Kyrgyzstan's Symbolic Nation-building, FFM-Cinémas d'Asie : Images de l'altérité, vol.293, pp.113-135, 2014.

E. Näripea, From nation-scape to nation-state: reconfiguring filmic space in post-soviet Estonian cinema, Acta Academiae Artium Vilnensis, vol.56, 2010.

E. Mazierska, Post-communist Estonian cinema as transnational cinema, Kinokultura: New Russian Cinema, 2010.

E. Mazierska and . Hanna, At War: Polish-Russian Relations in Recent Polish Films, Contested Interpretations of the Past in Polish, Russian, and Ukrainian Film: Screen as Battlefield, 2000.

A. Jirattikorn, Suriyothai becomes legend: national identity as global currency, East Asian Cinemas: Exploring Transnational Connections on Film, vol.4, pp.123-137, 2003.

A. Hamilton, Renovated: Gender and Cinema in Contemporary Vietnam, Visual Anthropology, vol.22, issue.2-3, pp.141-154, 2009.

. Tamdogan, ;. &. I??k, A. Gulcur, and . Sivas, Handbook of Research on the Impact of Culture and Society on the Entertainment Industry, pp.264-277, 2013.

O. Spivak and . Cit,

E. Cengiz and . Paça, Bringing the Past into the Present: Cinematic Representation of History in Turkey since the mid-1990s, 2014.

O. Hamilton and . Cit,

C. J. Berry, M. Ann, and F. , China on screen: Cinema and nation, 2006.

I. Maruf, The Representation of Persians as Villains in a Movie '300': An Analysis of Orientalism Perspective by Edward Said, vol.2, pp.128-136, 2016.

. Casula, ;. Philipp, and J. Kirchick, Five Days of War and Olympus Inferno: the 2008 South Ossetia war in Russian and Western popular culture, Studies in Russian and Soviet Cinema, vol.9, pp.92-96, 2011.

R. Isaacs, Nomads, warriors and bureaucrats: nation-building and film in post-Soviet Kazakhstan, Nationalities Papers, vol.43, pp.399-416, 2015.

Y. He, Remembering and forgetting the war: elite mythmaking, mass reaction, and Sino-Japanese relations, History & Memory, vol.19, pp.43-74, 2007.

R. Schoppa and . Keith, Revolution and its past: Identities and change in modern Chinese history, 2011.

J. ;. Dotson and M. Barr, The Confucian revival in the propaganda narratives of the Chinese government, East Asia, vol.29, pp.81-94, 2011.