{"id":58,"date":"2024-03-30T05:07:21","date_gmt":"2024-03-30T05:07:21","guid":{"rendered":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/?page_id=58"},"modified":"2026-03-13T14:55:34","modified_gmt":"2026-03-13T12:55:34","slug":"","status":"publish","type":"page","link":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/doctoranzi\/","title":{"rendered":"Students","raw":"Students"},"content":{"rendered":"\n

Started doctoral studies – 2025<\/strong><\/p>\n\n\n\n

STUDENT<\/strong><\/td>ADVISOR<\/strong><\/td>DOMAIN<\/strong><\/td>THESIS\/TITLE<\/strong><\/td><\/tr>
H\u0102L\u0102NG\u0102U D. DENISA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Estetica regizoral\u0103 a esen\u021bializ\u0103rii. O cercetare asupra minimalismului scenic contemporan<\/td><\/tr>
MACAVEI D. ALEX-R\u0102ZVAN<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Tehnici \u0219i metode actorice\u0219ti poststanislavkiene \u00een contextul practicii contemporane<\/td><\/tr>
KOV\u00c1CS GH.-M KINGA-R\u00c9KA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul Maghiar de Stat Cluj 1990-2025. O analiz\u0103 critic\u0103 de discurs<\/td><\/tr>
\u0218ERDEAN C\u0102S. SIMA G. GABRIELA<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Alternative technico-interpretative ale balerinei secolului XXI. Modele tradi\u021bionale versus tehnici contemporane<\/td><\/tr>
BORDIANU (C\u0102S. CORNEA) M. MIH\u0102I\u021a\u0102<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Explorarea Inteligen\u021bei Artificiale \u00een compozi\u021bia muzical\u0103 pentru teatru: perspective estetice, tehnice \u0219i creatoare<\/td><\/tr>
GR\u00dcN G.W. JANINE CORNELIA<\/td>Prof. univ. dr. habil. Doru Pop<\/td>Cinematografie \u0219i Media<\/td>Editing Practices : A Phenomenological and Experimental Approach<\/td><\/tr>
CLO\u0218C\u0102 V. JASMINA-IOANA<\/td>
Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>
Cinematografie \u0219i Media<\/td>		Navigating Austerity and Self-Managed Culture: A study of Decentralized Cultural Responses to European Political Instability<\/td><\/tr>
R\u0102DULEA I ALEXANDRU-FLORIN<\/td>Conf. univ. dr. habil Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Instrumentalizarea culturii \u00een dezvoltarea durabil\u0103: program de interven\u021bie cultural-artistic\u0103 \u00een revitalizarea V\u0103ii Jiului<\/td><\/tr>
ZHU L. ANNA DECHENG<\/td>
Prof. univ. dr. Rodica-Otilia Mocan<\/td>		Cinematografie \u0219i Media<\/td>Intermedial AI Agents and the Future of Collective Storytelling<\/td><\/tr>
L\u0102Z\u0102RESCU P. FLORIN<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Memoria fic\u021bionalizat\u0103 \u0219i etica biografismului: scenariu cinematografic original<\/td><\/tr>
KYCYKU A. IULIA-MARIA<\/td>Prof. univ. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Grani\u021bi \u0219i fuziuni \u00eentre identitate \u0219i creativitate \u00een filmul \u0219i teatrul experimental din 1960 p\u00e2n\u0103 \u00een prezent<\/td><\/tr>
KAT\u00d3 L. CSILLA<\/td>Conf. univ. dr. habil. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Programming and Curatorial Practices in European Documentary Film Festivals in the 2010s and beyond <\/td><\/tr>
OPREA C. CLAUDIU<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Filmul Comercial Independent Rom\u00e2nesc de Exploitation <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies – 2024<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Gligan L.-A. Mihai<\/td>Conf. univ. dr. habil. Anca Mihaela Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Radu Penciulescu \u0219i David Esrig: Principii ale pedagogiei teatrale<\/td><\/tr>
G\u0103icean D. Philip<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Metode de improviza\u021bie \u00een cinema: Grani\u021ba fin\u0103 dintre documentar \u0219i fic\u021biune<\/td><\/tr>
Miron M. Sorin-Nicolae<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>\u00cen c\u0103utarea adev\u0103rului scenic. Jurnal critic al unui actor<\/td><\/tr>
Mihe\u0219 M.-F. Sonia-Maria<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba inteligen\u021bei artificiale \u00een cinematografia oniric\u0103<\/td><\/tr>
Moldovan E.-G. Gabriela-Iulia<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Generarea experien\u021belor estetice prin medii imersive bazate pe film \u0219i media<\/td><\/tr>
Bonta M.-N. Codru\u021ba-Florina<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Autofic\u021biune \u00een teatru<\/td><\/tr>
D\u0103m\u0103cu\u0219 (c\u0103s. Ghenoside) I.-F. Anca<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului
<\/td>		Grani\u021be \u00een arta actorului<\/td><\/tr>
Nagy M. M\u00e1rton<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>The Script and the complete Pre-production Schedule for the Feature Film: \u201dHow my girlfriend ignited on our third date\u201d<\/td><\/tr>
Z\u00e1goni A. B\u00e1lint<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A kolozsv\u00e1ri filmgy\u00e1rt\u00e1s t\u00f6rt\u00e9nete 1913-1923 k\u00f6z\u00f6tt (Istoria produc\u021biei cinematografice din Cluj \u00eentre anii 1913-1923<\/td><\/tr>
Varga E.-G. Hunor J\u00f3zsef<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identity Move<\/td><\/tr>
Cri\u0219an (c\u0103s. Matc\u0103boj\u0103) Teodora<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Reprezent\u0103ri ale traumei. De la realitate la ecran<\/td><\/tr>
Mircea C.-G.-R. Andreea-Cristina<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Crearea de spa\u021bii performative \u0219i Hibride Imersive prin Medii Interactive<\/td><\/tr>
Kedves E. Kriszta<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Szexu\u00e1lis nevel\u00e9s a sz\u00ednh\u00e1znevel\u00e9s eszk\u00f6zt\u00e1r\u00e1val (Educa\u021bia sexual\u0103 cu instrumente de educa\u021bie teatral\u0103)<\/td><\/tr>
Kocsis E. T\u00fcnde<\/td>Prof. univ. dr. Visky Andr\u00e1s
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Bevezet\u00e9s az \u00f6nismereti sz\u00ednh\u00e1zi nevel\u00e9s vil\u00e1g\u00e1ba (Introducere \u00een lumea educa\u021biei teatrale de autocunoa\u0219tere<\/td><\/tr>
N\u0103vodaru V. Oana<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>METAMORPHOSIS. MasQue.Moon.MariOnette<\/td><\/tr>
Nicorici F. Tudor<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Teatrul Popular ca instrument de coeziune social\u0103<\/td><\/tr>
Benedek I. Szabolcs<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A m\u00e9dium megeszi a lelket (Mediul m\u0103n\u00e2nc\u0103 sufletul)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies – 2023<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Enciu C.-\u0218. R\u0103zvan-Mihail<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul ca surs\u0103 de lini\u0219te necesar\u0103<\/td><\/tr>
Gavli\u021bchi C. Delia-Mihaela<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Practici actuale \u00een teatrul pentru publicul t\u00e2n\u0103r<\/td><\/tr>
C\u0103lbeaz\u0103 I. Alexandru-Cristian<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul tribunal: Direc\u021bii de cercetare interdisciplinare emergente la intersec\u021bia dintre dramatic \u0219i juridic<\/td><\/tr>
Manole I. Marius<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actorul: O fiin\u021b\u0103 vulnerabil\u0103 care ac\u021bioneaz\u0103 \u00eentru-n context fic\u021bional<\/td><\/tr>
Costea I. Bogdan-Alexandru<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Cercetare privind cele trei roluri din perspectiva creatoare personal\u0103. Dramaturg, regizor, actor<\/td><\/tr>
Dr\u0103ghici N. Ana-Maria<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Elipsa vizual\u0103<\/td><\/tr>
Curu\u021biu A. Hora\u021biu-Alexandru<\/td>
Conf. univ. dr. habil. Dan-Radu Curean<\/td>
Cinematografie \u0219i Media<\/td>		Arta iluziei: Realitatea ca \u0219i construct \u00een filmul documentar sportiv contemporan<\/td><\/tr>
B\u00e9lai Gy. Marcel<\/td>Prof. univ. dr. Hath\u00e1zi Andr\u00e1s-Attila<\/td>Teatru \u0219i Artele Spectacolului<\/td>–<\/td><\/tr>
Toloarg\u0103 Ioana<\/td>Conf. univ. dr. habil. Ha\u021biegan Anca-Mihaela<\/td>Teatru \u0219i Artele Spectacolului<\/td>Direc\u021bii \u00een dramaturgia contemporan\u0103 rom\u00e2neasc\u0103<\/td><\/tr>
Marc I. Florin-Adrian<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Intersec\u021bia literaturii fantastice cu spa\u021biul de realitate virtual\u0103<\/td><\/tr>
\u0218tef S.-M. Raul-Andrei<\/td>Conf. univ. dr. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Reprezentarea disiden\u021bei \u00een filmul rom\u00e2nesc de dup\u0103 1990<\/td><\/tr>
Marcu V. Adina-Camelia<\/td>Prof. univ. dr. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Movies and their magical power. Cognitive explorations and therapeutic potential of Romanian Cinema<\/td><\/tr>
Cou\u021bi R. Vladimir<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Principalele emo\u021bii reflectate \u00een cinematografia european\u0103. O analiz\u0103 aprofundat\u0103 a reprezent\u0103rii emo\u021biilor \u00een filmele c\u00e2\u0219tig\u0103toare ale festivalului de la Cannes din ultimul deceniu<\/td><\/tr>
Dumitriu V. Olivia<\/td>
Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>		Cinematografie \u0219i Media<\/td>The Chronology of the Political Documentary<\/td><\/tr>
Popa M. Teodor-Ioan-Vlad<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Fast Film – Metode alternative a cinematografului hegemonic<\/td><\/tr>
\u021a\u0103ranu N. Ana-Maria<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Aestheticizing Banal Nationalism. The Resurgence of Cultural Nativism Across East-Central Europe<\/td><\/tr>
Hath\u00e1zi A.-A. Rebeka<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>Realista \u00e9s sz\u00fcrrealista t\u00e9rhat\u00e1sok, koszt\u00fcm\u00f6k, elemek Miranda July munk\u00e1ss\u00e1g\u00e1ban\/ Elemente costume \u0219i efecte spa\u021biale realiste \u0219i suprarealiste \u00een arta Mirandei July<\/td><\/tr>
Sos I. Timothy-Valentin<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>A metamodern saj\u00e1toss\u00e1gok hat\u00e1sai a kort\u00e1rs film m\u0171fajokra (Influen\u021ba tr\u0103s\u0103turilor metamoderne asupra genurilor de film contemporane)<\/td><\/tr>
Fincziski A. Andrea<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A monodr\u00e1ma mint lehet\u0151s\u00e9g a t\u00f6rt\u00e9nelmi reflexi\u00f3ra (Monodrama ca o posibilitate a unei reflec\u021bii istorice)<\/td><\/tr>
Lovassy-Cseh V.-A. Tam\u00e1s<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A kolozsv\u00e1ri nemzeti sz\u00ednh\u00e1z \u00e9s sz\u00ednh\u00e1zi folyamatok 194o-1944 k\u00f6z\u00f6tt – Nemzeti gondolat, nemzeti sz\u00ednh\u00e1zi elk\u00e9pzel\u00e9s (Teatrul Na\u021bional din Cluj \u0219i procesele teatrale \u00eentre 1940 \u0219i 1944 – G\u00e2ndire na\u021bional\u0103, concep\u021bie de teatru na\u021bional<\/td><\/tr>
Dragovoja S. Ilir<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolulu<\/td>–<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies 2022<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Talo\u0219 D. (c\u0103s. Talo\u0219-Mardare) Doru Mihai<\/td>Conf. univ. dr. habil. Anca Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Re\u021bele \u0219i cadre de coproduc\u021bie<\/td><\/tr>
Tasn\u00e1dy-S\u00e1hy Z. P\u00e9ter Zolt\u00e1n<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A sz\u00edn\u00e9szi preexpresszivit\u00e1s mint heterot\u00f3pia (Preexpresivitatea actorului ca \u0219i heterotopie) <\/td><\/tr>
Farkas B. Bogl\u00e1rka-Ang\u00e9la<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Contemporary Science-Fiction Film in the Light of Greek Mythology <\/td><\/tr>
Mihai D. Andi Cristian<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba muzicii rock asupra crea\u021biei cinematografice a lui Martin Scorsese<\/td><\/tr>
Miklos J. Sandor<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Impactul socio-cultural al imaginilor de arhiv\u0103 realizate la culegerile de folclor din Ardeal \u00een anii 1968-1969 asupra mi\u0219c\u0103rii folclorice maghiare<\/td><\/tr>
Cociardi M. Levente Mircea<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Dimensiunea oniric\u0103 a spectacolului de teatru \u00een contemporaneitate<\/td><\/tr>
Oprea N. R\u0103zvan-Ionu\u021b<\/td>
Conf. univ. dr. habil. Diana Cozma<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Quantum Momentum – \u00een jocul actorului<\/td><\/tr>
Laz\u0103r G. Laviniu-P\u0103un<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Interfe\u021be narative, divertisment \u0219i educa\u021bie \u00een cinemaul modern contemporan<\/td><\/tr>
Ghenoside L.M. Andrei<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba curentelor artistice \u00een evolu\u021bia fundalului cinematografic<\/td><\/tr>
M\u0103rghidan M. Liviu Petri\u0219or<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Elemente estetice \u0219i expresive \u00een film\u0103rile subacvatice: interac\u021biunea luminii, culorii \u0219i mi\u0219c\u0103rii<\/a> <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Dr\u0103gan F. Anda-Florina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an <\/td>Teatru \u0219i Artele Spectacolului<\/td>R\u0103zboiul \u00een dramaturgia contemporan\u0103 prin prisma personajului feminin<\/td><\/tr>
Pop-Tiron C.G. Cristina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Co-creating interactive digital performance art. From Installation art to performative participation<\/td><\/tr>
Roman A. Adrian<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identitatea artistului creator imigrant \u00een New York<\/td><\/tr>
\u0218argan N. Daiana-Maria<\/td>
Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Performance art \u00een Rom\u00e2nia \u00eenainte de 1989<\/td><\/tr>
Miron G. Mirela<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Filmul etnografic din Rom\u00e2nia<\/td><\/tr>
\u0218tef\u0103nescu G. Cecilia Ana<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Elipsa temporal\u0103 – procedeu dramaturgic \u00een scenariul de film \u0219i problema etic\u0103<\/td><\/tr>
Cr\u0103ciunoiu V. Adrian-Mihai<\/td>Prof. univ. dr. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>An Artist\u2019s Perspective on Ambiguity as a Creative Instrument in Human-Computer Interaction for Digital Interactive Art <\/mark>(SUS\u021aINUT)<\/mark><\/td><\/tr>
Sebesi A. Istvan<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actori \u0219i actri\u021be din Rom\u00e2nia interbelic\u0103 al lui Max Reinhardt<\/td><\/tr>
Noja (c\u0103s.) Noja-Nebyla I. Simona Ioana<\/td>Prof. univ. dr. Anca M\u0103niu\u021biu<\/td>Teatru \u0219i Artele Spectacolului<\/td>Baletul. Model educa\u021bional academic. Pledoarie pentru o abordare epistemologic\u0103 <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Gy\u00f6rgyjakab A. Enik\u0151<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A tudatos sz\u00edn\u00e9szi test (corpul con\u0219tient al actorului)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies – 2021<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>T<\/strong>HESIS\/TITLE<\/td><\/tr>
Bud\u00eei Simona<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rememor\u0103ri cinematografice. Adapt\u0103ri de dup\u0103 1989 ale literaturii rom\u00e2ne din anii comunismului<\/td><\/tr>
Capri\u0219 Oana<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rolurile \u0219i rela\u021biile de gen \u00een discursul televiziunilor confesionale din Rom\u00e2nia<\/td><\/tr>
Kalam\u00e1r G\u00e1sp\u00e1r-G\u00e1bor<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Promoting linear documentary film with an interractive form<\/td><\/tr>
Motrescu Emanuela<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Analiza rolului montajului cinematografic \u0219i cum influen\u021beaz\u0103 ritmul montajului tr\u0103irea estetic\u0103<\/td><\/tr>
Sitaru Adrian<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Realitate versus fic\u021biune \u00een film. Perspective \u0219i strategii \u00een reproducerea filmic\u0103 a realit\u0103\u021bii<\/td><\/tr>
Corlat Simina<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Condi\u021bia lucr\u0103torului cultural independent \u00een contextul profesional actual \u0219i pozi\u021bia acestuia fa\u021b\u0103 de sectorul institu\u021bional<\/td><\/tr>
Teodorescu Marius Alexandru<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Caietul de regie \u2013 singurul instrument al unui artist f\u0103r\u0103 de art\u0103<\/td><\/tr>
Boant\u0103 Antonia<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Dinspre blocaj spre creativitate \u00een arta actorului<\/td><\/tr>
Bodochi Marius<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Confluen\u021ba dintre identificarea stanislavskian\u0103 \u0219i \u00eenstr\u0103inarea brechtian\u0103<\/td><\/tr>
Mojoiu Ioana Alexandra<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Teatrul rom \u00een Rom\u00e2nia<\/td><\/tr>
Hary Iudit<\/td>Prof. dr. habil. Hath\u00e1zi Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Paralelisme \u0219i contraste \u00een formarea sunetelor \u00een vorbitul \u0219i c\u00e2ntatul scenic<\/td><\/tr>
Hotea-Fernezan Vasile<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>TIFF \u2013 Festivalul Interna\u021bional de Film Transilvania: istorie \u0219i implica\u021bii sociologice. De la nebunie, prin labirint spre viitorul realit\u0103\u021bii<\/td><\/tr>
Kelemen Eugen<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Percep\u021bie \u0219i interpretare \u00een arta montajului de film<\/td><\/tr>
Marin Vlad<\/td>Prof. dr. habil. Miriam Cuibus<\/td>Teatru \u0219i Artele spectacolului<\/td>Histrio Praesto: Actorul \u021bi performer-ul \u00een formele spectaculare azi<\/td><\/tr>
Peter Csilla<\/td>Conf. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Constructe sociale, liminalitatea reprezentat\u0103 \u00een film<\/td><\/tr>
Petruska Eranio<\/td>Prof. dr. habil. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>Modele de crea\u021bie procedural\u0103 \u00een contextul artelor new media \/ artelor digitale<\/td><\/tr>
Gy\u00f6rgy B. Alida<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Film \u00een teatru. Diferen\u021be mediale, varia\u021biunile limbajului teatral prin media<\/td><\/tr>
Szabo \u0218tefan<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Anatomia orbirii \u00een teatru<\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false,"raw":"\n

Started doctoral studies - 2025<\/strong><\/p>\n\n\n\n

STUDENT<\/strong><\/td>ADVISOR<\/strong><\/td>DOMAIN<\/strong><\/td>THESIS\/TITLE<\/strong><\/td><\/tr>
H\u0102L\u0102NG\u0102U D. DENISA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Estetica regizoral\u0103 a esen\u021bializ\u0103rii. O cercetare asupra minimalismului scenic contemporan<\/td><\/tr>
MACAVEI D. ALEX-R\u0102ZVAN<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Tehnici \u0219i metode actorice\u0219ti poststanislavkiene \u00een contextul practicii contemporane<\/td><\/tr>
KOV\u00c1CS GH.-M KINGA-R\u00c9KA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul Maghiar de Stat Cluj 1990-2025. O analiz\u0103 critic\u0103 de discurs<\/td><\/tr>
\u0218ERDEAN C\u0102S. SIMA G. GABRIELA<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Alternative technico-interpretative ale balerinei secolului XXI. Modele tradi\u021bionale versus tehnici contemporane<\/td><\/tr>
BORDIANU (C\u0102S. CORNEA) M. MIH\u0102I\u021a\u0102<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Explorarea Inteligen\u021bei Artificiale \u00een compozi\u021bia muzical\u0103 pentru teatru: perspective estetice, tehnice \u0219i creatoare<\/td><\/tr>
GR\u00dcN G.W. JANINE CORNELIA<\/td>Prof. univ. dr. habil. Doru Pop<\/td>Cinematografie \u0219i Media<\/td>Editing Practices : A Phenomenological and Experimental Approach<\/td><\/tr>
CLO\u0218C\u0102 V. JASMINA-IOANA<\/td>
Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>
Cinematografie \u0219i Media<\/td>		Navigating Austerity and Self-Managed Culture: A study of Decentralized Cultural Responses to European Political Instability<\/td><\/tr>
R\u0102DULEA I ALEXANDRU-FLORIN<\/td>Conf. univ. dr. habil Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Instrumentalizarea culturii \u00een dezvoltarea durabil\u0103: program de interven\u021bie cultural-artistic\u0103 \u00een revitalizarea V\u0103ii Jiului<\/td><\/tr>
ZHU L. ANNA DECHENG<\/td>
Prof. univ. dr. Rodica-Otilia Mocan<\/td>		Cinematografie \u0219i Media<\/td>Intermedial AI Agents and the Future of Collective Storytelling<\/td><\/tr>
L\u0102Z\u0102RESCU P. FLORIN<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Memoria fic\u021bionalizat\u0103 \u0219i etica biografismului: scenariu cinematografic original<\/td><\/tr>
KYCYKU A. IULIA-MARIA<\/td>Prof. univ. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Grani\u021bi \u0219i fuziuni \u00eentre identitate \u0219i creativitate \u00een filmul \u0219i teatrul experimental din 1960 p\u00e2n\u0103 \u00een prezent<\/td><\/tr>
KAT\u00d3 L. CSILLA<\/td>Conf. univ. dr. habil. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Programming and Curatorial Practices in European Documentary Film Festivals in the 2010s and beyond <\/td><\/tr>
OPREA C. CLAUDIU<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Filmul Comercial Independent Rom\u00e2nesc de Exploitation <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies - 2024<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Gligan L.-A. Mihai<\/td>Conf. univ. dr. habil. Anca Mihaela Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Radu Penciulescu \u0219i David Esrig: Principii ale pedagogiei teatrale<\/td><\/tr>
G\u0103icean D. Philip<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Metode de improviza\u021bie \u00een cinema: Grani\u021ba fin\u0103 dintre documentar \u0219i fic\u021biune<\/td><\/tr>
Miron M. Sorin-Nicolae<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>\u00cen c\u0103utarea adev\u0103rului scenic. Jurnal critic al unui actor<\/td><\/tr>
Mihe\u0219 M.-F. Sonia-Maria<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba inteligen\u021bei artificiale \u00een cinematografia oniric\u0103<\/td><\/tr>
Moldovan E.-G. Gabriela-Iulia<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Generarea experien\u021belor estetice prin medii imersive bazate pe film \u0219i media<\/td><\/tr>
Bonta M.-N. Codru\u021ba-Florina<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Autofic\u021biune \u00een teatru<\/td><\/tr>
D\u0103m\u0103cu\u0219 (c\u0103s. Ghenoside) I.-F. Anca<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului
<\/td>		Grani\u021be \u00een arta actorului<\/td><\/tr>
Nagy M. M\u00e1rton<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>The Script and the complete Pre-production Schedule for the Feature Film: \u201dHow my girlfriend ignited on our third date\u201d<\/td><\/tr>
Z\u00e1goni A. B\u00e1lint<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A kolozsv\u00e1ri filmgy\u00e1rt\u00e1s t\u00f6rt\u00e9nete 1913-1923 k\u00f6z\u00f6tt (Istoria produc\u021biei cinematografice din Cluj \u00eentre anii 1913-1923<\/td><\/tr>
Varga E.-G. Hunor J\u00f3zsef<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identity Move<\/td><\/tr>
Cri\u0219an (c\u0103s. Matc\u0103boj\u0103) Teodora<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Reprezent\u0103ri ale traumei. De la realitate la ecran<\/td><\/tr>
Mircea C.-G.-R. Andreea-Cristina<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Crearea de spa\u021bii performative \u0219i Hibride Imersive prin Medii Interactive<\/td><\/tr>
Kedves E. Kriszta<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Szexu\u00e1lis nevel\u00e9s a sz\u00ednh\u00e1znevel\u00e9s eszk\u00f6zt\u00e1r\u00e1val (Educa\u021bia sexual\u0103 cu instrumente de educa\u021bie teatral\u0103)<\/td><\/tr>
Kocsis E. T\u00fcnde<\/td>Prof. univ. dr. Visky Andr\u00e1s
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Bevezet\u00e9s az \u00f6nismereti sz\u00ednh\u00e1zi nevel\u00e9s vil\u00e1g\u00e1ba (Introducere \u00een lumea educa\u021biei teatrale de autocunoa\u0219tere<\/td><\/tr>
N\u0103vodaru V. Oana<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>METAMORPHOSIS. MasQue.Moon.MariOnette<\/td><\/tr>
Nicorici F. Tudor<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Teatrul Popular ca instrument de coeziune social\u0103<\/td><\/tr>
Benedek I. Szabolcs<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A m\u00e9dium megeszi a lelket (Mediul m\u0103n\u00e2nc\u0103 sufletul)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies - 2023<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Enciu C.-\u0218. R\u0103zvan-Mihail<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul ca surs\u0103 de lini\u0219te necesar\u0103<\/td><\/tr>
Gavli\u021bchi C. Delia-Mihaela<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Practici actuale \u00een teatrul pentru publicul t\u00e2n\u0103r<\/td><\/tr>
C\u0103lbeaz\u0103 I. Alexandru-Cristian<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul tribunal: Direc\u021bii de cercetare interdisciplinare emergente la intersec\u021bia dintre dramatic \u0219i juridic<\/td><\/tr>
Manole I. Marius<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actorul: O fiin\u021b\u0103 vulnerabil\u0103 care ac\u021bioneaz\u0103 \u00eentru-n context fic\u021bional<\/td><\/tr>
Costea I. Bogdan-Alexandru<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Cercetare privind cele trei roluri din perspectiva creatoare personal\u0103. Dramaturg, regizor, actor<\/td><\/tr>
Dr\u0103ghici N. Ana-Maria<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Elipsa vizual\u0103<\/td><\/tr>
Curu\u021biu A. Hora\u021biu-Alexandru<\/td>
Conf. univ. dr. habil. Dan-Radu Curean<\/td>
Cinematografie \u0219i Media<\/td>		Arta iluziei: Realitatea ca \u0219i construct \u00een filmul documentar sportiv contemporan<\/td><\/tr>
B\u00e9lai Gy. Marcel<\/td>Prof. univ. dr. Hath\u00e1zi Andr\u00e1s-Attila<\/td>Teatru \u0219i Artele Spectacolului<\/td>-<\/td><\/tr>
Toloarg\u0103 Ioana<\/td>Conf. univ. dr. habil. Ha\u021biegan Anca-Mihaela<\/td>Teatru \u0219i Artele Spectacolului<\/td>Direc\u021bii \u00een dramaturgia contemporan\u0103 rom\u00e2neasc\u0103<\/td><\/tr>
Marc I. Florin-Adrian<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Intersec\u021bia literaturii fantastice cu spa\u021biul de realitate virtual\u0103<\/td><\/tr>
\u0218tef S.-M. Raul-Andrei<\/td>Conf. univ. dr. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Reprezentarea disiden\u021bei \u00een filmul rom\u00e2nesc de dup\u0103 1990<\/td><\/tr>
Marcu V. Adina-Camelia<\/td>Prof. univ. dr. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Movies and their magical power. Cognitive explorations and therapeutic potential of Romanian Cinema<\/td><\/tr>
Cou\u021bi R. Vladimir<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Principalele emo\u021bii reflectate \u00een cinematografia european\u0103. O analiz\u0103 aprofundat\u0103 a reprezent\u0103rii emo\u021biilor \u00een filmele c\u00e2\u0219tig\u0103toare ale festivalului de la Cannes din ultimul deceniu<\/td><\/tr>
Dumitriu V. Olivia<\/td>
Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>		Cinematografie \u0219i Media<\/td>The Chronology of the Political Documentary<\/td><\/tr>
Popa M. Teodor-Ioan-Vlad<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Fast Film - Metode alternative a cinematografului hegemonic<\/td><\/tr>
\u021a\u0103ranu N. Ana-Maria<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Aestheticizing Banal Nationalism. The Resurgence of Cultural Nativism Across East-Central Europe<\/td><\/tr>
Hath\u00e1zi A.-A. Rebeka<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>Realista \u00e9s sz\u00fcrrealista t\u00e9rhat\u00e1sok, koszt\u00fcm\u00f6k, elemek Miranda July munk\u00e1ss\u00e1g\u00e1ban\/ Elemente costume \u0219i efecte spa\u021biale realiste \u0219i suprarealiste \u00een arta Mirandei July<\/td><\/tr>
Sos I. Timothy-Valentin<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>A metamodern saj\u00e1toss\u00e1gok hat\u00e1sai a kort\u00e1rs film m\u0171fajokra (Influen\u021ba tr\u0103s\u0103turilor metamoderne asupra genurilor de film contemporane)<\/td><\/tr>
Fincziski A. Andrea<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A monodr\u00e1ma mint lehet\u0151s\u00e9g a t\u00f6rt\u00e9nelmi reflexi\u00f3ra (Monodrama ca o posibilitate a unei reflec\u021bii istorice)<\/td><\/tr>
Lovassy-Cseh V.-A. Tam\u00e1s<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A kolozsv\u00e1ri nemzeti sz\u00ednh\u00e1z \u00e9s sz\u00ednh\u00e1zi folyamatok 194o-1944 k\u00f6z\u00f6tt - Nemzeti gondolat, nemzeti sz\u00ednh\u00e1zi elk\u00e9pzel\u00e9s (Teatrul Na\u021bional din Cluj \u0219i procesele teatrale \u00eentre 1940 \u0219i 1944 - G\u00e2ndire na\u021bional\u0103, concep\u021bie de teatru na\u021bional<\/td><\/tr>
Dragovoja S. Ilir<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolulu<\/td>-<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies 2022<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Talo\u0219 D. (c\u0103s. Talo\u0219-Mardare) Doru Mihai<\/td>Conf. univ. dr. habil. Anca Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Re\u021bele \u0219i cadre de coproduc\u021bie<\/td><\/tr>
Tasn\u00e1dy-S\u00e1hy Z. P\u00e9ter Zolt\u00e1n<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A sz\u00edn\u00e9szi preexpresszivit\u00e1s mint heterot\u00f3pia (Preexpresivitatea actorului ca \u0219i heterotopie) <\/td><\/tr>
Farkas B. Bogl\u00e1rka-Ang\u00e9la<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Contemporary Science-Fiction Film in the Light of Greek Mythology <\/td><\/tr>
Mihai D. Andi Cristian<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba muzicii rock asupra crea\u021biei cinematografice a lui Martin Scorsese<\/td><\/tr>
Miklos J. Sandor<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Impactul socio-cultural al imaginilor de arhiv\u0103 realizate la culegerile de folclor din Ardeal \u00een anii 1968-1969 asupra mi\u0219c\u0103rii folclorice maghiare<\/td><\/tr>
Cociardi M. Levente Mircea<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Dimensiunea oniric\u0103 a spectacolului de teatru \u00een contemporaneitate<\/td><\/tr>
Oprea N. R\u0103zvan-Ionu\u021b<\/td>
Conf. univ. dr. habil. Diana Cozma<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Quantum Momentum - \u00een jocul actorului<\/td><\/tr>
Laz\u0103r G. Laviniu-P\u0103un<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Interfe\u021be narative, divertisment \u0219i educa\u021bie \u00een cinemaul modern contemporan<\/td><\/tr>
Ghenoside L.M. Andrei<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba curentelor artistice \u00een evolu\u021bia fundalului cinematografic<\/td><\/tr>
M\u0103rghidan M. Liviu Petri\u0219or<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Elemente estetice \u0219i expresive \u00een film\u0103rile subacvatice: interac\u021biunea luminii, culorii \u0219i mi\u0219c\u0103rii<\/a> <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Dr\u0103gan F. Anda-Florina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an <\/td>Teatru \u0219i Artele Spectacolului<\/td>R\u0103zboiul \u00een dramaturgia contemporan\u0103 prin prisma personajului feminin<\/td><\/tr>
Pop-Tiron C.G. Cristina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Co-creating interactive digital performance art. From Installation art to performative participation<\/td><\/tr>
Roman A. Adrian<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identitatea artistului creator imigrant \u00een New York<\/td><\/tr>
\u0218argan N. Daiana-Maria<\/td>
Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Performance art \u00een Rom\u00e2nia \u00eenainte de 1989<\/td><\/tr>
Miron G. Mirela<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Filmul etnografic din Rom\u00e2nia<\/td><\/tr>
\u0218tef\u0103nescu G. Cecilia Ana<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Elipsa temporal\u0103 - procedeu dramaturgic \u00een scenariul de film \u0219i problema etic\u0103<\/td><\/tr>
Cr\u0103ciunoiu V. Adrian-Mihai<\/td>Prof. univ. dr. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>An Artist\u2019s Perspective on Ambiguity as a Creative Instrument in Human-Computer Interaction for Digital Interactive Art <\/mark>(SUS\u021aINUT)<\/mark><\/td><\/tr>
Sebesi A. Istvan<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actori \u0219i actri\u021be din Rom\u00e2nia interbelic\u0103 al lui Max Reinhardt<\/td><\/tr>
Noja (c\u0103s.) Noja-Nebyla I. Simona Ioana<\/td>Prof. univ. dr. Anca M\u0103niu\u021biu<\/td>Teatru \u0219i Artele Spectacolului<\/td>Baletul. Model educa\u021bional academic. Pledoarie pentru o abordare epistemologic\u0103 <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Gy\u00f6rgyjakab A. Enik\u0151<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A tudatos sz\u00edn\u00e9szi test (corpul con\u0219tient al actorului)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies - 2021<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>T<\/strong>HESIS\/TITLE<\/td><\/tr>
Bud\u00eei Simona<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rememor\u0103ri cinematografice. Adapt\u0103ri de dup\u0103 1989 ale literaturii rom\u00e2ne din anii comunismului<\/td><\/tr>
Capri\u0219 Oana<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rolurile \u0219i rela\u021biile de gen \u00een discursul televiziunilor confesionale din Rom\u00e2nia<\/td><\/tr>
Kalam\u00e1r G\u00e1sp\u00e1r-G\u00e1bor<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Promoting linear documentary film with an interractive form<\/td><\/tr>
Motrescu Emanuela<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Analiza rolului montajului cinematografic \u0219i cum influen\u021beaz\u0103 ritmul montajului tr\u0103irea estetic\u0103<\/td><\/tr>
Sitaru Adrian<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Realitate versus fic\u021biune \u00een film. Perspective \u0219i strategii \u00een reproducerea filmic\u0103 a realit\u0103\u021bii<\/td><\/tr>
Corlat Simina<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Condi\u021bia lucr\u0103torului cultural independent \u00een contextul profesional actual \u0219i pozi\u021bia acestuia fa\u021b\u0103 de sectorul institu\u021bional<\/td><\/tr>
Teodorescu Marius Alexandru<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Caietul de regie \u2013 singurul instrument al unui artist f\u0103r\u0103 de art\u0103<\/td><\/tr>
Boant\u0103 Antonia<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Dinspre blocaj spre creativitate \u00een arta actorului<\/td><\/tr>
Bodochi Marius<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Confluen\u021ba dintre identificarea stanislavskian\u0103 \u0219i \u00eenstr\u0103inarea brechtian\u0103<\/td><\/tr>
Mojoiu Ioana Alexandra<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Teatrul rom \u00een Rom\u00e2nia<\/td><\/tr>
Hary Iudit<\/td>Prof. dr. habil. Hath\u00e1zi Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Paralelisme \u0219i contraste \u00een formarea sunetelor \u00een vorbitul \u0219i c\u00e2ntatul scenic<\/td><\/tr>
Hotea-Fernezan Vasile<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>TIFF \u2013 Festivalul Interna\u021bional de Film Transilvania: istorie \u0219i implica\u021bii sociologice. De la nebunie, prin labirint spre viitorul realit\u0103\u021bii<\/td><\/tr>
Kelemen Eugen<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Percep\u021bie \u0219i interpretare \u00een arta montajului de film<\/td><\/tr>
Marin Vlad<\/td>Prof. dr. habil. Miriam Cuibus<\/td>Teatru \u0219i Artele spectacolului<\/td>Histrio Praesto: Actorul \u021bi performer-ul \u00een formele spectaculare azi<\/td><\/tr>
Peter Csilla<\/td>Conf. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Constructe sociale, liminalitatea reprezentat\u0103 \u00een film<\/td><\/tr>
Petruska Eranio<\/td>Prof. dr. habil. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>Modele de crea\u021bie procedural\u0103 \u00een contextul artelor new media \/ artelor digitale<\/td><\/tr>
Gy\u00f6rgy B. Alida<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Film \u00een teatru. Diferen\u021be mediale, varia\u021biunile limbajului teatral prin media<\/td><\/tr>
Szabo \u0218tefan<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Anatomia orbirii \u00een teatru<\/td><\/tr><\/tbody><\/table><\/figure>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_ro_post_content":"\n

Doctoranzi \u00eenmatricula\u021bi \u00een 2025<\/strong><\/p>\n\n\n\n

DOCTORAND<\/strong><\/td>CONDUC\u0102TOR<\/strong><\/td> DOMENIU<\/strong> <\/td>TEZA<\/td><\/tr>
H\u0102L\u0102NG\u0102U D. DENISA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Estetica regizoral\u0103 a esen\u021bializ\u0103rii. O cercetare asupra minimalismului scenic contemporan<\/td><\/tr>
MACAVEI D. ALEX-R\u0102ZVAN<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Tehnici \u0219i metode actorice\u0219ti poststanislavkiene \u00een contextul practicii contemporane<\/td><\/tr>
KOV\u00c1CS GH.-M KINGA-R\u00c9KA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul Maghiar de Stat Cluj 1990-2025. O analiz\u0103 critic\u0103 de discurs<\/td><\/tr>
\u0218ERDEAN C\u0102S. SIMA G. GABRIELA<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Alternative technico-interpretative ale balerinei secolului XXI. Modele tradi\u021bionale versus tehnici contemporane<\/td><\/tr>
BORDIANU (C\u0102S. CORNEA) M. MIH\u0102I\u021a\u0102<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Explorarea Inteligen\u021bei Artificiale \u00een compozi\u021bia muzical\u0103 pentru teatru: perspective estetice, tehnice \u0219i creatoare<\/td><\/tr>
GR\u00dcN G.W. JANINE CORNELIA<\/td>Prof. univ. dr. habil. Doru Pop<\/td>Cinematografie \u0219i Media<\/td>Editing Practices : A Phenomenological and Experimental Approach<\/td><\/tr>
CLO\u0218C\u0102 V. JASMINA-IOANA<\/td>
Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>
Cinematografie \u0219i Media<\/td>		Navigating Austerity and Self-Managed Culture: A study of Decentralized Cultural Responses to European Political Instability<\/td><\/tr>
R\u0102DULEA I ALEXANDRU-FLORIN<\/td>Conf. univ. dr. habil Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Instrumentalizarea culturii \u00een dezvoltarea durabil\u0103: program de interven\u021bie cultural-artistic\u0103 \u00een revitalizarea V\u0103ii Jiului<\/td><\/tr>
ZHU L. ANNA DECHENG<\/td>
Prof. univ. dr. Rodica-Otilia Mocan<\/td>		Cinematografie \u0219i Media<\/td>Intermedial AI Agents and the Future of Collective Storytelling<\/td><\/tr>
L\u0102Z\u0102RESCU P. FLORIN<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Memoria fic\u021bionalizat\u0103 \u0219i etica biografismului: scenariu cinematografic original<\/td><\/tr>
KYCYKU A. IULIA-MARIA<\/td>Prof. univ. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Grani\u021bi \u0219i fuziuni \u00eentre identitate \u0219i creativitate \u00een filmul \u0219i teatrul experimental din 1960 p\u00e2n\u0103 \u00een prezent<\/td><\/tr>
KAT\u00d3 L. CSILLA<\/td>Conf. univ. dr. habil. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Programming and Curatorial Practices in European Documentary Film Festivals in the 2010s and beyond <\/td><\/tr>
OPREA C. CLAUDIU<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Filmul Comercial Independent Rom\u00e2nesc de Exploitation <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Doctoranzi \u00eenmatricula\u021bi \u00een 2024<\/strong><\/p>\n\n\n\n

DOCTORAND<\/strong><\/td>CONDUC\u0102TOR<\/strong><\/td>DOMENIU<\/strong><\/td>TEZA<\/td><\/tr>
Gligan L.-A. Mihai<\/td>Conf. univ. dr. habil. Anca Mihaela Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Radu Penciulescu \u0219i David Esrig: Principii ale pedagogiei teatrale<\/td><\/tr>
G\u0103icean D. Philip<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Metode de improviza\u021bie \u00een cinema: Grani\u021ba fin\u0103 dintre documentar \u0219i fic\u021biune<\/td><\/tr>
Miron M. Sorin-Nicolae<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>\u00cen c\u0103utarea adev\u0103rului scenic. Jurnal critic al unui actor<\/td><\/tr>
Mihe\u0219 M.-F. Sonia-Maria<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba inteligen\u021bei artificiale \u00een cinematografia oniric\u0103<\/td><\/tr>
Moldovan E.-G. Gabriela-Iulia<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Generarea experien\u021belor estetice prin medii imersive bazate pe film \u0219i media<\/td><\/tr>
Bonta M.-N. Codru\u021ba-Florina<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Autofic\u021biune \u00een teatru<\/td><\/tr>
D\u0103m\u0103cu\u0219 (c\u0103s. Ghenoside) I.-F. Anca<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului
<\/td>		Grani\u021be \u00een arta actorului<\/td><\/tr>
Nagy M. M\u00e1rton<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>The Script and the complete Pre-production Schedule for the Feature Film: \u201dHow my girlfriend ignited on our third date\u201d<\/td><\/tr>
Z\u00e1goni A. B\u00e1lint<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A kolozsv\u00e1ri filmgy\u00e1rt\u00e1s t\u00f6rt\u00e9nete 1913-1923 k\u00f6z\u00f6tt (Istoria produc\u021biei cinematografice din Cluj \u00eentre anii 1913-1923<\/td><\/tr>
Varga E.-G. Hunor J\u00f3zsef<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identity Move<\/td><\/tr>
Cri\u0219an (c\u0103s. Matc\u0103boj\u0103) Teodora<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Reprezent\u0103ri ale traumei. De la realitate la ecran<\/td><\/tr>
Mircea C.-G.-R. Andreea-Cristina<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Crearea de spa\u021bii performative \u0219i Hibride Imersive prin Medii Interactive<\/td><\/tr>
Kedves E. Kriszta<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Szexu\u00e1lis nevel\u00e9s a sz\u00ednh\u00e1znevel\u00e9s eszk\u00f6zt\u00e1r\u00e1val (Educa\u021bia sexual\u0103 cu instrumente de educa\u021bie teatral\u0103)<\/td><\/tr>
Kocsis E. T\u00fcnde<\/td>Prof. univ. dr. Visky Andr\u00e1s
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Bevezet\u00e9s az \u00f6nismereti sz\u00ednh\u00e1zi nevel\u00e9s vil\u00e1g\u00e1ba (Introducere \u00een lumea educa\u021biei teatrale de autocunoa\u0219tere<\/td><\/tr>
N\u0103vodaru V. Oana<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>METAMORPHOSIS. MasQue.Moon.MariOnette<\/td><\/tr>
Nicorici F. Tudor<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Teatrul Popular ca instrument de coeziune social\u0103<\/td><\/tr>
Benedek I. Szabolcs<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A m\u00e9dium megeszi a lelket (Mediul m\u0103n\u00e2nc\u0103 sufletul)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Doctoranzi \u00eenmatricula\u021bi \u00een 2023<\/strong><\/p>\n\n\n\n

DOCTORAND<\/strong><\/td>CONDUC\u0102TOR<\/strong><\/td>DOMENIU<\/strong><\/td>TEZA<\/td><\/tr>
Enciu C.-\u0218. R\u0103zvan-Mihail<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul ca surs\u0103 de lini\u0219te necesar\u0103<\/td><\/tr>
Gavli\u021bchi C. Delia-Mihaela<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Practici actuale \u00een teatrul pentru publicul t\u00e2n\u0103r<\/td><\/tr>
C\u0103lbeaz\u0103 I. Alexandru-Cristian<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul tribunal: Direc\u021bii de cercetare interdisciplinare emergente la intersec\u021bia dintre dramatic \u0219i juridic<\/td><\/tr>
Manole I. Marius<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actorul: O fiin\u021b\u0103 vulnerabil\u0103 care ac\u021bioneaz\u0103 \u00eentru-n context fic\u021bional<\/td><\/tr>
Costea I. Bogdan-Alexandru<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Cercetare privind cele trei roluri din perspectiva creatoare personal\u0103. Dramaturg, regizor, actor<\/td><\/tr>
Dr\u0103ghici N. Ana-Maria<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Elipsa vizual\u0103<\/td><\/tr>
Curu\u021biu A. Hora\u021biu-Alexandru<\/td>
Conf. univ. dr. habil. Dan-Radu Curean<\/td>
Cinematografie \u0219i Media<\/td>		Arta iluziei: Realitatea ca \u0219i construct \u00een filmul documentar sportiv contemporan<\/td><\/tr>
B\u00e9lai Gy. Marcel<\/td>Prof. univ. dr. Hath\u00e1zi Andr\u00e1s-Attila<\/td>Teatru \u0219i Artele Spectacolului<\/td>-<\/td><\/tr>
Toloarg\u0103 Ioana<\/td>Conf. univ. dr. habil. Ha\u021biegan Anca-Mihaela<\/td>Teatru \u0219i Artele Spectacolului<\/td>Direc\u021bii \u00een dramaturgia contemporan\u0103 rom\u00e2neasc\u0103<\/td><\/tr>
Marc I. Florin-Adrian<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Intersec\u021bia literaturii fantastice cu spa\u021biul de realitate virtual\u0103<\/td><\/tr>
\u0218tef S.-M. Raul-Andrei<\/td>Conf. univ. dr. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Reprezentarea disiden\u021bei \u00een filmul rom\u00e2nesc de dup\u0103 1990<\/td><\/tr>
Marcu V. Adina-Camelia<\/td>Prof. univ. dr. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Movies and their magical power. Cognitive explorations and therapeutic potential of Romanian Cinema<\/td><\/tr>
Cou\u021bi R. Vladimir<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Principalele emo\u021bii reflectate \u00een cinematografia european\u0103. O analiz\u0103 aprofundat\u0103 a reprezent\u0103rii emo\u021biilor \u00een filmele c\u00e2\u0219tig\u0103toare ale festivalului de la Cannes din ultimul deceniu<\/td><\/tr>
Dumitriu V. Olivia<\/td>
Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>		Cinematografie \u0219i Media<\/td>The Chronology of the Political Documentary<\/td><\/tr>
Popa M. Teodor-Ioan-Vlad<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Fast Film - Metode alternative a cinematografului hegemonic<\/td><\/tr>
\u021a\u0103ranu N. Ana-Maria<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Aestheticizing Banal Nationalism. The Resurgence of Cultural Nativism Across East-Central Europe<\/td><\/tr>
Hath\u00e1zi A.-A. Rebeka<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>Realista \u00e9s sz\u00fcrrealista t\u00e9rhat\u00e1sok, koszt\u00fcm\u00f6k, elemek Miranda July munk\u00e1ss\u00e1g\u00e1ban\/ Elemente costume \u0219i efecte spa\u021biale realiste \u0219i suprarealiste \u00een arta Mirandei July<\/td><\/tr>
Sos I. Timothy-Valentin<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>A metamodern saj\u00e1toss\u00e1gok hat\u00e1sai a kort\u00e1rs film m\u0171fajokra (Influen\u021ba tr\u0103s\u0103turilor metamoderne asupra genurilor de film contemporane)<\/td><\/tr>
Fincziski A. Andrea<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A monodr\u00e1ma mint lehet\u0151s\u00e9g a t\u00f6rt\u00e9nelmi reflexi\u00f3ra (Monodrama ca o posibilitate a unei reflec\u021bii istorice)<\/td><\/tr>
Lovassy-Cseh V.-A. Tam\u00e1s<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A kolozsv\u00e1ri nemzeti sz\u00ednh\u00e1z \u00e9s sz\u00ednh\u00e1zi folyamatok 194o-1944 k\u00f6z\u00f6tt - Nemzeti gondolat, nemzeti sz\u00ednh\u00e1zi elk\u00e9pzel\u00e9s (Teatrul Na\u021bional din Cluj \u0219i procesele teatrale \u00eentre 1940 \u0219i 1944 - G\u00e2ndire na\u021bional\u0103, concep\u021bie de teatru na\u021bional<\/td><\/tr>
Dragovoja S. Ilir<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolulu<\/td>-<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Doctoranzi \u00eenmatricula\u021bi \u00een 2022<\/strong><\/p>\n\n\n\n

DOCTORAND<\/strong><\/td>CONDUC\u0102TOR<\/strong><\/td>DOMENIU<\/strong><\/td>TEZA<\/td><\/tr>
Talo\u0219 D. (c\u0103s. Talo\u0219-Mardare) Doru Mihai<\/td>Conf. univ. dr. habil. Anca Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Re\u021bele \u0219i cadre de coproduc\u021bie<\/td><\/tr>
Tasn\u00e1dy-S\u00e1hy Z. P\u00e9ter Zolt\u00e1n<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A sz\u00edn\u00e9szi preexpresszivit\u00e1s mint heterot\u00f3pia (Preexpresivitatea actorului ca \u0219i heterotopie) <\/td><\/tr>
Farkas B. Bogl\u00e1rka-Ang\u00e9la<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Contemporary Science-Fiction Film in the Light of Greek Mythology <\/td><\/tr>
Mihai D. Andi Cristian<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba muzicii rock asupra crea\u021biei cinematografice a lui Martin Scorsese<\/td><\/tr>
Miklos J. Sandor<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Impactul socio-cultural al imaginilor de arhiv\u0103 realizate la culegerile de folclor din Ardeal \u00een anii 1968-1969 asupra mi\u0219c\u0103rii folclorice maghiare<\/td><\/tr>
Cociardi M. Levente Mircea<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Dimensiunea oniric\u0103 a spectacolului de teatru \u00een contemporaneitate<\/td><\/tr>
Oprea N. R\u0103zvan-Ionu\u021b<\/td>
Conf. univ. dr. habil. Diana Cozma<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Quantum Momentum - \u00een jocul actorului<\/td><\/tr>
Laz\u0103r G. Laviniu-P\u0103un<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Interfe\u021be narative, divertisment \u0219i educa\u021bie \u00een cinemaul modern contemporan<\/td><\/tr>
Ghenoside L.M. Andrei<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba curentelor artistice \u00een evolu\u021bia fundalului cinematografic<\/td><\/tr>
M\u0103rghidan M. Liviu Petri\u0219or<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Elemente estetice \u0219i expresive \u00een film\u0103rile subacvatice: interac\u021biunea luminii, culorii \u0219i mi\u0219c\u0103rii<\/a> <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Dr\u0103gan F. Anda-Florina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an <\/td>Teatru \u0219i Artele Spectacolului<\/td>R\u0103zboiul \u00een dramaturgia contemporan\u0103 prin prisma personajului feminin<\/td><\/tr>
Pop-Tiron C.G. Cristina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Co-creating interactive digital performance art. From Installation art to performative participation<\/td><\/tr>
Roman A. Adrian<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identitatea artistului creator imigrant \u00een New York<\/td><\/tr>
\u0218argan N. Daiana-Maria<\/td>
Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Performance art \u00een Rom\u00e2nia \u00eenainte de 1989<\/td><\/tr>
Miron G. Mirela<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Filmul etnografic din Rom\u00e2nia<\/td><\/tr>
\u0218tef\u0103nescu G. Cecilia Ana<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Elipsa temporal\u0103 - procedeu dramaturgic \u00een scenariul de film \u0219i problema etic\u0103<\/td><\/tr>
Cr\u0103ciunoiu V. Adrian-Mihai<\/td>Prof. univ. dr. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>An Artist\u2019s Perspective on Ambiguity as a Creative Instrument in Human-Computer Interaction for Digital Interactive Art <\/mark>(SUS\u021aINUT)<\/mark><\/td><\/tr>
Sebesi A. Istvan<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actori \u0219i actri\u021be din Rom\u00e2nia interbelic\u0103 al lui Max Reinhardt<\/td><\/tr>
Noja (c\u0103s.) Noja-Nebyla I. Simona Ioana<\/td>Prof. univ. dr. Anca M\u0103niu\u021biu<\/td>Teatru \u0219i Artele Spectacolului<\/td>Baletul. Model educa\u021bional academic. Pledoarie pentru o abordare epistemologic\u0103 <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Gy\u00f6rgyjakab A. Enik\u0151<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A tudatos sz\u00edn\u00e9szi test (corpul con\u0219tient al actorului)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Doctoranzi \u00eenmatricula\u021bi \u00een 2021<\/strong><\/p>\n\n\n\n

DOCTORAND<\/strong><\/td>CONDUC\u0102TOR<\/strong><\/td>DOMENIU<\/strong><\/td>TEZA<\/strong><\/td><\/tr>
Bud\u00eei Simona<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rememor\u0103ri cinematografice. Adapt\u0103ri de dup\u0103 1989 ale literaturii rom\u00e2ne din anii comunismului<\/td><\/tr>
Capri\u0219 Oana<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rolurile \u0219i rela\u021biile de gen \u00een discursul televiziunilor confesionale din Rom\u00e2nia<\/td><\/tr>
Kalam\u00e1r G\u00e1sp\u00e1r-G\u00e1bor<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Promoting linear documentary film with an interractive form<\/td><\/tr>
Motrescu Emanuela<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Analiza rolului montajului cinematografic \u0219i cum influen\u021beaz\u0103 ritmul montajului tr\u0103irea estetic\u0103<\/td><\/tr>
Sitaru Adrian<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Realitate versus fic\u021biune \u00een film. Perspective \u0219i strategii \u00een reproducerea filmic\u0103 a realit\u0103\u021bii<\/td><\/tr>
Corlat Simina<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Condi\u021bia lucr\u0103torului cultural independent \u00een contextul profesional actual \u0219i pozi\u021bia acestuia fa\u021b\u0103 de sectorul institu\u021bional<\/td><\/tr>
Teodorescu Marius Alexandru<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Caietul de regie \u2013 singurul instrument al unui artist f\u0103r\u0103 de art\u0103<\/td><\/tr>
Boant\u0103 Antonia<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Dinspre blocaj spre creativitate \u00een arta actorului<\/td><\/tr>
Bodochi Marius<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Confluen\u021ba dintre identificarea stanislavskian\u0103 \u0219i \u00eenstr\u0103inarea brechtian\u0103<\/td><\/tr>
Mojoiu Ioana Alexandra<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Teatrul rom \u00een Rom\u00e2nia<\/td><\/tr>
Hary Iudit<\/td>Prof. dr. habil. Hath\u00e1zi Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Paralelisme \u0219i contraste \u00een formarea sunetelor \u00een vorbitul \u0219i c\u00e2ntatul scenic<\/td><\/tr>
Hotea-Fernezan Vasile<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>TIFF \u2013 Festivalul Interna\u021bional de Film Transilvania: istorie \u0219i implica\u021bii sociologice. De la nebunie, prin labirint spre viitorul realit\u0103\u021bii<\/td><\/tr>
Kelemen Eugen<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Percep\u021bie \u0219i interpretare \u00een arta montajului de film<\/td><\/tr>
Marin Vlad<\/td>Prof. dr. habil. Miriam Cuibus<\/td>Teatru \u0219i Artele spectacolului<\/td>Histrio Praesto: Actorul \u021bi performer-ul \u00een formele spectaculare azi<\/td><\/tr>
Peter Csilla<\/td>Conf. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Constructe sociale, liminalitatea reprezentat\u0103 \u00een film<\/td><\/tr>
Petruska Eranio<\/td>Prof. dr. habil. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>Modele de crea\u021bie procedural\u0103 \u00een contextul artelor new media \/ artelor digitale<\/td><\/tr>
Gy\u00f6rgy B. Alida<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Film \u00een teatru. Diferen\u021be mediale, varia\u021biunile limbajului teatral prin media<\/td><\/tr>
Szabo \u0218tefan<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Anatomia orbirii \u00een teatru<\/td><\/tr><\/tbody><\/table><\/figure>\n","_ro_post_name":"doctoranzi","_ro_post_excerpt":"","_ro_post_title":"Doctoranzi","_en_post_content":"\n

Started doctoral studies - 2025<\/strong><\/p>\n\n\n\n

STUDENT<\/strong><\/td>ADVISOR<\/strong><\/td>DOMAIN<\/strong><\/td>THESIS\/TITLE<\/strong><\/td><\/tr>
H\u0102L\u0102NG\u0102U D. DENISA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Estetica regizoral\u0103 a esen\u021bializ\u0103rii. O cercetare asupra minimalismului scenic contemporan<\/td><\/tr>
MACAVEI D. ALEX-R\u0102ZVAN<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Tehnici \u0219i metode actorice\u0219ti poststanislavkiene \u00een contextul practicii contemporane<\/td><\/tr>
KOV\u00c1CS GH.-M KINGA-R\u00c9KA<\/td>Prof. univ. dr. habil. Laura Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul Maghiar de Stat Cluj 1990-2025. O analiz\u0103 critic\u0103 de discurs<\/td><\/tr>
\u0218ERDEAN C\u0102S. SIMA G. GABRIELA<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Alternative technico-interpretative ale balerinei secolului XXI. Modele tradi\u021bionale versus tehnici contemporane<\/td><\/tr>
BORDIANU (C\u0102S. CORNEA) M. MIH\u0102I\u021a\u0102<\/td>Prof. univ. dr. habil. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Explorarea Inteligen\u021bei Artificiale \u00een compozi\u021bia muzical\u0103 pentru teatru: perspective estetice, tehnice \u0219i creatoare<\/td><\/tr>
GR\u00dcN G.W. JANINE CORNELIA<\/td>Prof. univ. dr. habil. Doru Pop<\/td>Cinematografie \u0219i Media<\/td>Editing Practices : A Phenomenological and Experimental Approach<\/td><\/tr>
CLO\u0218C\u0102 V. JASMINA-IOANA<\/td>
Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>
Cinematografie \u0219i Media<\/td>		Navigating Austerity and Self-Managed Culture: A study of Decentralized Cultural Responses to European Political Instability<\/td><\/tr>
R\u0102DULEA I ALEXANDRU-FLORIN<\/td>Conf. univ. dr. habil Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Instrumentalizarea culturii \u00een dezvoltarea durabil\u0103: program de interven\u021bie cultural-artistic\u0103 \u00een revitalizarea V\u0103ii Jiului<\/td><\/tr>
ZHU L. ANNA DECHENG<\/td>
Prof. univ. dr. Rodica-Otilia Mocan<\/td>		Cinematografie \u0219i Media<\/td>Intermedial AI Agents and the Future of Collective Storytelling<\/td><\/tr>
L\u0102Z\u0102RESCU P. FLORIN<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Memoria fic\u021bionalizat\u0103 \u0219i etica biografismului: scenariu cinematografic original<\/td><\/tr>
KYCYKU A. IULIA-MARIA<\/td>Prof. univ. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Grani\u021bi \u0219i fuziuni \u00eentre identitate \u0219i creativitate \u00een filmul \u0219i teatrul experimental din 1960 p\u00e2n\u0103 \u00een prezent<\/td><\/tr>
KAT\u00d3 L. CSILLA<\/td>Conf. univ. dr. habil. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Programming and Curatorial Practices in European Documentary Film Festivals in the 2010s and beyond <\/td><\/tr>
OPREA C. CLAUDIU<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Filmul Comercial Independent Rom\u00e2nesc de Exploitation <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies - 2024<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Gligan L.-A. Mihai<\/td>Conf. univ. dr. habil. Anca Mihaela Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Radu Penciulescu \u0219i David Esrig: Principii ale pedagogiei teatrale<\/td><\/tr>
G\u0103icean D. Philip<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Metode de improviza\u021bie \u00een cinema: Grani\u021ba fin\u0103 dintre documentar \u0219i fic\u021biune<\/td><\/tr>
Miron M. Sorin-Nicolae<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>\u00cen c\u0103utarea adev\u0103rului scenic. Jurnal critic al unui actor<\/td><\/tr>
Mihe\u0219 M.-F. Sonia-Maria<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba inteligen\u021bei artificiale \u00een cinematografia oniric\u0103<\/td><\/tr>
Moldovan E.-G. Gabriela-Iulia<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Generarea experien\u021belor estetice prin medii imersive bazate pe film \u0219i media<\/td><\/tr>
Bonta M.-N. Codru\u021ba-Florina<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Autofic\u021biune \u00een teatru<\/td><\/tr>
D\u0103m\u0103cu\u0219 (c\u0103s. Ghenoside) I.-F. Anca<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului
<\/td>		Grani\u021be \u00een arta actorului<\/td><\/tr>
Nagy M. M\u00e1rton<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>The Script and the complete Pre-production Schedule for the Feature Film: \u201dHow my girlfriend ignited on our third date\u201d<\/td><\/tr>
Z\u00e1goni A. B\u00e1lint<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A kolozsv\u00e1ri filmgy\u00e1rt\u00e1s t\u00f6rt\u00e9nete 1913-1923 k\u00f6z\u00f6tt (Istoria produc\u021biei cinematografice din Cluj \u00eentre anii 1913-1923<\/td><\/tr>
Varga E.-G. Hunor J\u00f3zsef<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identity Move<\/td><\/tr>
Cri\u0219an (c\u0103s. Matc\u0103boj\u0103) Teodora<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Reprezent\u0103ri ale traumei. De la realitate la ecran<\/td><\/tr>
Mircea C.-G.-R. Andreea-Cristina<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Crearea de spa\u021bii performative \u0219i Hibride Imersive prin Medii Interactive<\/td><\/tr>
Kedves E. Kriszta<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Szexu\u00e1lis nevel\u00e9s a sz\u00ednh\u00e1znevel\u00e9s eszk\u00f6zt\u00e1r\u00e1val (Educa\u021bia sexual\u0103 cu instrumente de educa\u021bie teatral\u0103)<\/td><\/tr>
Kocsis E. T\u00fcnde<\/td>Prof. univ. dr. Visky Andr\u00e1s
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Bevezet\u00e9s az \u00f6nismereti sz\u00ednh\u00e1zi nevel\u00e9s vil\u00e1g\u00e1ba (Introducere \u00een lumea educa\u021biei teatrale de autocunoa\u0219tere<\/td><\/tr>
N\u0103vodaru V. Oana<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>METAMORPHOSIS. MasQue.Moon.MariOnette<\/td><\/tr>
Nicorici F. Tudor<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba
<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Teatrul Popular ca instrument de coeziune social\u0103<\/td><\/tr>
Benedek I. Szabolcs<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea<\/td>Cinematografie \u0219i Media<\/td>A m\u00e9dium megeszi a lelket (Mediul m\u0103n\u00e2nc\u0103 sufletul)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Started doctoral studies - 2023<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Enciu C.-\u0218. R\u0103zvan-Mihail<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul ca surs\u0103 de lini\u0219te necesar\u0103<\/td><\/tr>
Gavli\u021bchi C. Delia-Mihaela<\/td>Prof. univ. dr. C\u00eentic Ileana-Olti\u021ba<\/td>Teatru \u0219i Artele Spectacolului<\/td>Practici actuale \u00een teatrul pentru publicul t\u00e2n\u0103r<\/td><\/tr>
C\u0103lbeaz\u0103 I. Alexandru-Cristian<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Teatrul tribunal: Direc\u021bii de cercetare interdisciplinare emergente la intersec\u021bia dintre dramatic \u0219i juridic<\/td><\/tr>
Manole I. Marius<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actorul: O fiin\u021b\u0103 vulnerabil\u0103 care ac\u021bioneaz\u0103 \u00eentru-n context fic\u021bional<\/td><\/tr>
Costea I. Bogdan-Alexandru<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Cercetare privind cele trei roluri din perspectiva creatoare personal\u0103. Dramaturg, regizor, actor<\/td><\/tr>
Dr\u0103ghici N. Ana-Maria<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Elipsa vizual\u0103<\/td><\/tr>
Curu\u021biu A. Hora\u021biu-Alexandru<\/td>
Conf. univ. dr. habil. Dan-Radu Curean<\/td>
Cinematografie \u0219i Media<\/td>		Arta iluziei: Realitatea ca \u0219i construct \u00een filmul documentar sportiv contemporan<\/td><\/tr>
B\u00e9lai Gy. Marcel<\/td>Prof. univ. dr. Hath\u00e1zi Andr\u00e1s-Attila<\/td>Teatru \u0219i Artele Spectacolului<\/td>-<\/td><\/tr>
Toloarg\u0103 Ioana<\/td>Conf. univ. dr. habil. Ha\u021biegan Anca-Mihaela<\/td>Teatru \u0219i Artele Spectacolului<\/td>Direc\u021bii \u00een dramaturgia contemporan\u0103 rom\u00e2neasc\u0103<\/td><\/tr>
Marc I. Florin-Adrian<\/td>Prof. univ. dr. Rodica-Otilia Mocan<\/td>Cinematografie \u0219i Media<\/td>Intersec\u021bia literaturii fantastice cu spa\u021biul de realitate virtual\u0103<\/td><\/tr>
\u0218tef S.-M. Raul-Andrei<\/td>Conf. univ. dr. P\u00e2rvulescu Constantin<\/td>Cinematografie \u0219i Media<\/td>Reprezentarea disiden\u021bei \u00een filmul rom\u00e2nesc de dup\u0103 1990<\/td><\/tr>
Marcu V. Adina-Camelia<\/td>Prof. univ. dr. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Movies and their magical power. Cognitive explorations and therapeutic potential of Romanian Cinema<\/td><\/tr>
Cou\u021bi R. Vladimir<\/td>Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Principalele emo\u021bii reflectate \u00een cinematografia european\u0103. O analiz\u0103 aprofundat\u0103 a reprezent\u0103rii emo\u021biilor \u00een filmele c\u00e2\u0219tig\u0103toare ale festivalului de la Cannes din ultimul deceniu<\/td><\/tr>
Dumitriu V. Olivia<\/td>
Conf. univ. dr. habil. Nicoleta-Ileana S\u0103lcudean<\/td>		Cinematografie \u0219i Media<\/td>The Chronology of the Political Documentary<\/td><\/tr>
Popa M. Teodor-Ioan-Vlad<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Fast Film - Metode alternative a cinematografului hegemonic<\/td><\/tr>
\u021a\u0103ranu N. Ana-Maria<\/td>Conf. univ. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Aestheticizing Banal Nationalism. The Resurgence of Cultural Nativism Across East-Central Europe<\/td><\/tr>
Hath\u00e1zi A.-A. Rebeka<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>Realista \u00e9s sz\u00fcrrealista t\u00e9rhat\u00e1sok, koszt\u00fcm\u00f6k, elemek Miranda July munk\u00e1ss\u00e1g\u00e1ban\/ Elemente costume \u0219i efecte spa\u021biale realiste \u0219i suprarealiste \u00een arta Mirandei July<\/td><\/tr>
Sos I. Timothy-Valentin<\/td>Conf. univ. dr. habil. Virgin\u00e1s Andrea-Adriana<\/td>Cinematografie \u0219i Media<\/td>A metamodern saj\u00e1toss\u00e1gok hat\u00e1sai a kort\u00e1rs film m\u0171fajokra (Influen\u021ba tr\u0103s\u0103turilor metamoderne asupra genurilor de film contemporane)<\/td><\/tr>
Fincziski A. Andrea<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A monodr\u00e1ma mint lehet\u0151s\u00e9g a t\u00f6rt\u00e9nelmi reflexi\u00f3ra (Monodrama ca o posibilitate a unei reflec\u021bii istorice)<\/td><\/tr>
Lovassy-Cseh V.-A. Tam\u00e1s<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A kolozsv\u00e1ri nemzeti sz\u00ednh\u00e1z \u00e9s sz\u00ednh\u00e1zi folyamatok 194o-1944 k\u00f6z\u00f6tt - Nemzeti gondolat, nemzeti sz\u00ednh\u00e1zi elk\u00e9pzel\u00e9s (Teatrul Na\u021bional din Cluj \u0219i procesele teatrale \u00eentre 1940 \u0219i 1944 - G\u00e2ndire na\u021bional\u0103, concep\u021bie de teatru na\u021bional<\/td><\/tr>
Dragovoja S. Ilir<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolulu<\/td>-<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies 2022<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>THESIS\/TITLE<\/td><\/tr>
Talo\u0219 D. (c\u0103s. Talo\u0219-Mardare) Doru Mihai<\/td>Conf. univ. dr. habil. Anca Ha\u021biegan<\/td>Teatru \u0219i Artele Spectacolului<\/td>Re\u021bele \u0219i cadre de coproduc\u021bie<\/td><\/tr>
Tasn\u00e1dy-S\u00e1hy Z. P\u00e9ter Zolt\u00e1n<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A sz\u00edn\u00e9szi preexpresszivit\u00e1s mint heterot\u00f3pia (Preexpresivitatea actorului ca \u0219i heterotopie) <\/td><\/tr>
Farkas B. Bogl\u00e1rka-Ang\u00e9la<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Contemporary Science-Fiction Film in the Light of Greek Mythology <\/td><\/tr>
Mihai D. Andi Cristian<\/td>Conf. univ. dr. Constantin P\u00e2rvulescu<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba muzicii rock asupra crea\u021biei cinematografice a lui Martin Scorsese<\/td><\/tr>
Miklos J. Sandor<\/td>Conf. univ. dr. habil. Dan-Radu Curean<\/td>Cinematografie \u0219i Media<\/td>Impactul socio-cultural al imaginilor de arhiv\u0103 realizate la culegerile de folclor din Ardeal \u00een anii 1968-1969 asupra mi\u0219c\u0103rii folclorice maghiare<\/td><\/tr>
Cociardi M. Levente Mircea<\/td>Conf. univ. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele Spectacolului<\/td>Dimensiunea oniric\u0103 a spectacolului de teatru \u00een contemporaneitate<\/td><\/tr>
Oprea N. R\u0103zvan-Ionu\u021b<\/td>
Conf. univ. dr. habil. Diana Cozma<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Quantum Momentum - \u00een jocul actorului<\/td><\/tr>
Laz\u0103r G. Laviniu-P\u0103un<\/td>Prof. univ. dr. Doru-Aurel Pop<\/td>Cinematografie \u0219i Media<\/td>Interfe\u021be narative, divertisment \u0219i educa\u021bie \u00een cinemaul modern contemporan<\/td><\/tr>
Ghenoside L.M. Andrei<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Influen\u021ba curentelor artistice \u00een evolu\u021bia fundalului cinematografic<\/td><\/tr>
M\u0103rghidan M. Liviu Petri\u0219or<\/td>Conf. univ. dr. Florin \u021aola\u0219<\/td>Cinematografie \u0219i Media<\/td>Elemente estetice \u0219i expresive \u00een film\u0103rile subacvatice: interac\u021biunea luminii, culorii \u0219i mi\u0219c\u0103rii<\/a> <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Dr\u0103gan F. Anda-Florina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an <\/td>Teatru \u0219i Artele Spectacolului<\/td>R\u0103zboiul \u00een dramaturgia contemporan\u0103 prin prisma personajului feminin<\/td><\/tr>
Pop-Tiron C.G. Cristina<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Co-creating interactive digital performance art. From Installation art to performative participation<\/td><\/tr>
Roman A. Adrian<\/td>Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>Teatru \u0219i Artele Spectacolului<\/td>Identitatea artistului creator imigrant \u00een New York<\/td><\/tr>
\u0218argan N. Daiana-Maria<\/td>
Prof. univ. dr. Laura Pavel-Teuti\u0219an<\/td>		Teatru \u0219i Artele Spectacolului<\/td>Performance art \u00een Rom\u00e2nia \u00eenainte de 1989<\/td><\/tr>
Miron G. Mirela<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Filmul etnografic din Rom\u00e2nia<\/td><\/tr>
\u0218tef\u0103nescu G. Cecilia Ana<\/td>Conf. univ. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Elipsa temporal\u0103 - procedeu dramaturgic \u00een scenariul de film \u0219i problema etic\u0103<\/td><\/tr>
Cr\u0103ciunoiu V. Adrian-Mihai<\/td>Prof. univ. dr. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>An Artist\u2019s Perspective on Ambiguity as a Creative Instrument in Human-Computer Interaction for Digital Interactive Art <\/mark>(SUS\u021aINUT)<\/mark><\/td><\/tr>
Sebesi A. Istvan<\/td>Prof. univ. dr. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele Spectacolului<\/td>Actori \u0219i actri\u021be din Rom\u00e2nia interbelic\u0103 al lui Max Reinhardt<\/td><\/tr>
Noja (c\u0103s.) Noja-Nebyla I. Simona Ioana<\/td>Prof. univ. dr. Anca M\u0103niu\u021biu<\/td>Teatru \u0219i Artele Spectacolului<\/td>Baletul. Model educa\u021bional academic. Pledoarie pentru o abordare epistemologic\u0103 <\/mark>(SUS\u021aINUT)<\/td><\/tr>
Gy\u00f6rgyjakab A. Enik\u0151<\/td>Prof. univ. dr. B\u00e1cs Mikl\u00f3s<\/td>Teatru \u0219i Artele Spectacolului<\/td>A tudatos sz\u00edn\u00e9szi test (corpul con\u0219tient al actorului)<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

started doctoral studies - 2021<\/strong><\/p>\n\n\n\n

STUDENT<\/td>ADVISOR<\/td>DOM<\/strong>AIN<\/td>T<\/strong>HESIS\/TITLE<\/td><\/tr>
Bud\u00eei Simona<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rememor\u0103ri cinematografice. Adapt\u0103ri de dup\u0103 1989 ale literaturii rom\u00e2ne din anii comunismului<\/td><\/tr>
Capri\u0219 Oana<\/td>Conf. dr. habil. Claudiu Turcu\u0219<\/td>Cinematografie \u0219i Media<\/td>Rolurile \u0219i rela\u021biile de gen \u00een discursul televiziunilor confesionale din Rom\u00e2nia<\/td><\/tr>
Kalam\u00e1r G\u00e1sp\u00e1r-G\u00e1bor<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Promoting linear documentary film with an interractive form<\/td><\/tr>
Motrescu Emanuela<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Analiza rolului montajului cinematografic \u0219i cum influen\u021beaz\u0103 ritmul montajului tr\u0103irea estetic\u0103<\/td><\/tr>
Sitaru Adrian<\/td>Conf. dr. habil. Dan Curean<\/td>Cinematografie \u0219i Media<\/td>Realitate versus fic\u021biune \u00een film. Perspective \u0219i strategii \u00een reproducerea filmic\u0103 a realit\u0103\u021bii<\/td><\/tr>
Corlat Simina<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Condi\u021bia lucr\u0103torului cultural independent \u00een contextul profesional actual \u0219i pozi\u021bia acestuia fa\u021b\u0103 de sectorul institu\u021bional<\/td><\/tr>
Teodorescu Marius Alexandru<\/td>Prof. dr. Miruna Runcan<\/td>Teatru \u0219i Artele spectacolului<\/td>Caietul de regie \u2013 singurul instrument al unui artist f\u0103r\u0103 de art\u0103<\/td><\/tr>
Boant\u0103 Antonia<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Dinspre blocaj spre creativitate \u00een arta actorului<\/td><\/tr>
Bodochi Marius<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Confluen\u021ba dintre identificarea stanislavskian\u0103 \u0219i \u00eenstr\u0103inarea brechtian\u0103<\/td><\/tr>
Mojoiu Ioana Alexandra<\/td>Conf. dr. habil. Diana Cozma<\/td>Teatru \u0219i Artele spectacolului<\/td>Teatrul rom \u00een Rom\u00e2nia<\/td><\/tr>
Hary Iudit<\/td>Prof. dr. habil. Hath\u00e1zi Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Paralelisme \u0219i contraste \u00een formarea sunetelor \u00een vorbitul \u0219i c\u00e2ntatul scenic<\/td><\/tr>
Hotea-Fernezan Vasile<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>TIFF \u2013 Festivalul Interna\u021bional de Film Transilvania: istorie \u0219i implica\u021bii sociologice. De la nebunie, prin labirint spre viitorul realit\u0103\u021bii<\/td><\/tr>
Kelemen Eugen<\/td>Prof. dr. habil. Ioan Pop-Cur\u0219eu<\/td>Cinematografie \u0219i Media<\/td>Percep\u021bie \u0219i interpretare \u00een arta montajului de film<\/td><\/tr>
Marin Vlad<\/td>Prof. dr. habil. Miriam Cuibus<\/td>Teatru \u0219i Artele spectacolului<\/td>Histrio Praesto: Actorul \u021bi performer-ul \u00een formele spectaculare azi<\/td><\/tr>
Peter Csilla<\/td>Conf. dr. habil. Nicoleta S\u0103lcudean<\/td>Cinematografie \u0219i Media<\/td>Constructe sociale, liminalitatea reprezentat\u0103 \u00een film<\/td><\/tr>
Petruska Eranio<\/td>Prof. dr. habil. Rodica Mocan<\/td>Cinematografie \u0219i Media<\/td>Modele de crea\u021bie procedural\u0103 \u00een contextul artelor new media \/ artelor digitale<\/td><\/tr>
Gy\u00f6rgy B. Alida<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Film \u00een teatru. Diferen\u021be mediale, varia\u021biunile limbajului teatral prin media<\/td><\/tr>
Szabo \u0218tefan<\/td>Prof. dr. habil. Visky Andr\u00e1s<\/td>Teatru \u0219i Artele spectacolului<\/td>Anatomia orbirii \u00een teatru<\/td><\/tr><\/tbody><\/table><\/figure>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"Students","edit_language":"en","footnotes":""},"class_list":["post-58","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/58","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/comments?post=58"}],"version-history":[{"count":15,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/58\/revisions"}],"predecessor-version":[{"id":736,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/58\/revisions\/736"}],"wp:attachment":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/media?parent=58"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}