Dissertationen zum Thema „Feature films – united states“
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Ford, Conny (Conny M. ). „Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995)“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.
Der volle Inhalt der QuelleFrykholm, Joel. „Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s“. Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.
Der volle Inhalt der QuelleBorglin, John. „The Birth of Two Nations : En analys av ras och sexualitet i två filmatiseringar från 1915 och 2016“. Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85685.
Der volle Inhalt der QuelleRussell, Diane. „Du storyboard au storyboardeur : étude comparative d'une activité cinématographique en France et aux États-Unis“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030067.
Der volle Inhalt der QuelleThe starting point of this work involves a quantitative analysis of the object »storyboard » applied on a large corpus. The taxonomy here established, crossed witha qualitative approach, allows one to reveal communication codes and invariantsinherent to this preproduction device. This first leads to the definition of the toolstoryboard among other film preparation drawings. The classification of the dataaccording to its period then brings a new perspective to the analysis: it is through theobject, vestige of its own story and vector of ideas, from which are drawn the socialinteractions and the professionalization of those who manufacture it. The studyconcerns two different conceptions of the storyboarding practice, on both sides of theAtlantic Ocean
Bhatia, Parul. „India Vaale in the United States“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935597/.
Der volle Inhalt der QuelleCavallero, Jonathan J. „Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /“. [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.
Der volle Inhalt der QuelleTitle from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.
Roy, André 1963. „Une lecture politique de Star trek /“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61800.
Der volle Inhalt der QuelleYeung, Yuk-ngan, und 楊玉顔. „Gender representation in films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.
Der volle Inhalt der QuelleZwarich, Jennifer. „Federal Films| Bureaucratic Activism and the U.S. Government Motion Picture Initiative, 1901-1941“. Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635322.
Der volle Inhalt der QuelleThis dissertation describes the emergence and expansion of U.S. government motion picture work over the first four decades of the twentieth century. It situates the early history of federal filmmaking within the long progressive drive to reshape representative government into a more active proponent of the welfare of its citizenry and argues that despite reigning critiques to the contrary, institutional sponsorship actually gave social meaning and efficacy to this mode of social documentary. Indeed, I argue that U.S. government film production can be understood as a kind of social activism that was simultaneously propelled and limited by the contours of the federal bureaucracy. Envisioning government film work as “bureaucratic activism”—with all the power as well as the inefficiencies, entrenched rigidities, red tape, politics and establishment loyalties implied by the term “bureaucratic”—is useful here. It helps capture the contradictory nature of a pragmatic enterprise that actively and optimistically sought social change from within the confines of the status quo.
Federal films are examined in this history as spaces of complex negotiation— as points of contact between the structure(s) of the American democratic state and the imaginings of progressive bureaucrats about both their relationship to that state and its relationship to its citizens. Relying largely on original research in little-mined federal collections, I argue that the interpretations of social problems and solutions attempted in and by these film texts represent more than attempts to bolster institutional authority and reinforce the status quo (though, of course, they were such attempts). These aims were mediated by a will—evident both within the film texts and in the extemporaneous correspondence of their administrators and producers—to explain or justify such authority claims by literally and figuratively visualizing them as not arbitrary but rather in the interest of nurturing or protecting the common good. Federal films, seen in this way, don’t automatically obviate social change but instead represent attempts to relate social change to the ideal of democratic government. Viewed in the context of the specific change initiatives they were produced to aid, federal films were reflections of and on democratic governance itself.
Dean, Adam T. „The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.
Der volle Inhalt der QuelleYau, Suk-ying Shirley, und 邱淑瑩. „Where has all the horror gone?: a study of horror in contemporary cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.
Der volle Inhalt der QuelleMills, Pamela J. „Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films“. Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.
Der volle Inhalt der QuelleDepartment of History
Anticoli, Rahel. „Cultural Adaptation of Cancer Campaign Films : A comparison made between beauty commercials; United States ofAmerica and India“. Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27472.
Der volle Inhalt der QuelleTrowell, Melody. „A test of the effects of linguistic stereotypes in children's animated film: A language attitude study“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
Der volle Inhalt der QuelleWatkins, Fred P. „Independent Feature Filmmaking: the Historical Development of Current Methods“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.
Der volle Inhalt der QuelleWong, Yee-ling, und 黃綺玲. „Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.
Der volle Inhalt der Quellepublished_or_final_version
Comparative Literature
Master
Master of Philosophy
Davis, Blair. „The 1950s B-movie : the economics of cultural production“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.
Der volle Inhalt der QuelleB-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.
This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.
The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.
Johnson, William F. „Survey and Analysis of Local Forestry-Related Ordinances in the Northeast, Mid-West, and Western United States“. Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/10151.
Der volle Inhalt der QuelleMaster of Science
Loehrer, Gudrun. „Cinematic governmentality : a cultural history of tuberculosis and malaria health films in the United States of the 1940s“. Thesis, University of East London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532919.
Der volle Inhalt der QuelleTsang, Wai-ho, und 曾煒豪. „Post-9/11 American gothic family in The hills have eyes duology and Twilight saga“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.
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Literary and Cultural Studies
Master
Master of Arts
Begovich, Raymond S. „Planning and implementing writing coach programs at small newspapers“. Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861394.
Der volle Inhalt der QuelleDepartment of Educational Leadership
Rosenfeld, Rachel F. „Confrontation Cinema in the Age of Neoliberalism; Where Brazil and the United States Meet“. Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/cmc_theses/222.
Der volle Inhalt der QuelleWasson, Haidee. „Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.
Der volle Inhalt der QuelleScheffler, Lisa K. (Lisa Kathryn). „A Study in Cultural Conflict: the Controversy Surrounding Martin Scorsese's The Last Temptation of Christ“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278589/.
Der volle Inhalt der QuelleSchnoor, Andrea. „Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.
Der volle Inhalt der QuelleDepartment of History
Sterckx, Laurent S. S. „Systèmes de signification dans le cinéma classique hollywoodien: l'exemple de la comédie sophistiquée“. Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212325.
Der volle Inhalt der QuelleKhor, Denise. „Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.
Der volle Inhalt der QuelleTitle from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).
Eliopoulos, Mariamne. „Esthétique et intertextualité dans les films des frères Coen“. Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030136.
Der volle Inhalt der QuelleFilm intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated
Jacobson, Lara K. „Diversity and Democracy at War: Analyzing Race and Ethnicity in Squad Films from 1940-1960“. Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/war_and_society_theses/6.
Der volle Inhalt der QuelleLi, Tingting. „An Analysis of the 4:2:1 Documentary“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.
Der volle Inhalt der QuelleSchembri, Peter Mark. „The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989“. Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.
Der volle Inhalt der QuelleMonahan, William B., Alyssa Rosemartin, Katharine L. Gerst, Nicholas A. Fisichelli, Toby Ault, Mark D. Schwartz, John E. Gross und Jake F. Weltzin. „Climate change is advancing spring onset across the U.S. national park system“. WILEY-BLACKWELL, 2016. http://hdl.handle.net/10150/622065.
Der volle Inhalt der QuelleCollins, Ryan William. „It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.
Der volle Inhalt der QuelleLester, Carole N. 1946. „Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.
Der volle Inhalt der QuelleGoshorn, John. „The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.
Der volle Inhalt der QuelleID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
Wright, Adam Michael. „Hauntology Man“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157557/.
Der volle Inhalt der QuelleMartin, Johnathan Paul. „"The Great Hanging"“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc849655/.
Der volle Inhalt der QuelleMoore, Stan (Stan Clark). „Caddo Blues: The Making Of A Stunt“. Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
Der volle Inhalt der QuelleLechler, Ron. „The Best Medicine“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801938/.
Der volle Inhalt der QuelleGómez, García Iván. „La deriva antiliberal en los EE.UU. vista por el cine jurídico contemporáneo (1930-2020)“. Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672560.
Der volle Inhalt der QuelleEl cinema jurídic ha estat una presència constant a la història del cinema nord-americà des dels seus orígens. Aquest gènere fílmic construeix respostes des del terreny cultural als riscos i amenaces als que ha fet front la democràcia dels Estats Units, i apel·la a certs principis fundacionals de la república com antídot enfront dels atacs duts a terme per diferents operadors públics i privats al sistema de drets i llibertats del país. El desenvolupament, evolució i canvis d’aquest cinema jurídic s’han vist molt marcats pel context sociopolític i han obeït a diferents factors d’ordre històric, ideològic i industrial. Aquest text suposa un intent de construir una història cultural d’aquest cinema jurídic a través de l’anàlisi detallada d’una sèrie de pel·lícules essencials del gènere i dels debats jurídics i polítics allà plantejats, que suposen l’elaboració d’un diagnòstic sobre la deriva antiliberal patida per la democràcia als Estats Units després de les grans lluites pels drets civils dels anys seixanta.
Trial films have been a constant presence in the history of American cinema since its origins. This film genre elaborates cultural responses to the risks and threats that American democracy has faced, and appeals to certain founding principles of the republic as an antidote to the attacks carried out by different public and private operators on the country’s system of rights and freedoms. The development, evolution and changes of this genre have been very marked by the sociopolitical context and have been due to different factors of a historical, ideological and industrial nature. This text is an attempt to build a cultural history of trial films through the detailed analysis of essential films of the genre and the legal and political debates raised there, which involve the elaboration of a diagnosis on the illiberal drift suffered for American democracy after the great civil rights struggles of the 1960s.
Grant, Michael E. (Michael Edward). „China Run“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.
Der volle Inhalt der QuelleMartin, Johnathan Paul. „The Great Hanging“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849655/.
Der volle Inhalt der QuelleTeichner, Noah. „Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)“. Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
Der volle Inhalt der QuelleThis dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
Hart, Hilary 1969. „Sentimental spectacles : the sentimental novel, natural language, and early film performance“. Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Der volle Inhalt der QuelleThe nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
Kulbaga, Theresa A. „Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.
Der volle Inhalt der QuelleWellborn, Brecken. „Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
Der volle Inhalt der QuelleWellborn, Brecken. „Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical“. Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
Der volle Inhalt der QuellePuente, Henry. „The promotion of U.S. Latino films“. Thesis, 2004. http://hdl.handle.net/2152/1296.
Der volle Inhalt der QuelleKnightly, Patrick J. „Politics and the popular culture : an examination of the relationship between politics and film and music“. 1999. https://scholarworks.umass.edu/theses/2551.
Der volle Inhalt der QuelleHudson, Dale M. „Border crossings and multicultural whiteness: Nationalism in the global production and United States reception of vampire films“. 2004. https://scholarworks.umass.edu/dissertations/AAI3136738.
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