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Thematische Bibliographien / France In motion pictures / Dissertationen

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Dissertationen zum Thema „France In motion pictures“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

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1

Van, Liew Maria. „Democratic women : gender, national discourse and the cinema of post-Franco Spain /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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2

Strauss, Angela L. „The economic impact of film tourism on small communities“. Th author, 2003. http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=.

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Thesis (M.A.)--University of Wisconsin-Stout., 2003.
"December, 2003". "A research paper submitted in partial fulfillment of the requirements for the Master of Science Degree with major in Global Hospitality; Approved: 3 semester credits (signature) professor Lynnette Brouwer; The Graduate School, University of Wisconsin-Stout." Description based on 2005 edition printed on Aug. 2, 2007 from http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail= Bibliography p. 36-40. Also available online (viewed 2 Aug. 2007) at address: http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=

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3

Noble, Fiona. „Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema“. Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.

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4

Emerson, John. „The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /“. Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.

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5

Lehin, Barbara. „Cinema and society : Thatcher's Britain and Mitterand's France“. Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.

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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about society was the predominance of the realist vein in Britain and the comedy genre in France. This generic discrepancy was highly influential in the way the two national cinemas referred to social issues in the 1980s and most scholars have argued that British cinema widely discussed the state of its society whereas, on the whole, French cinema avoided to do so. What this research hopefully demonstrates is that, despite different generic approaches, British and French cinemas equally contributed to depict their contemporary societies. To analyse how these two societies were represented on screen, three main areas are studied thematically: first people in power (public institutions and individuals), second the world of work, and third the family. After a brief summary of social issues in Britain and France in relation with the aforementioned themes, discussions of their filmic representations are based on the films themselves, the textual analysis of films taken as case studies and their critical reception. I will argue that in the 1980s, British cinema offered the overall image of a class-bound society where individuals - living side by side - were unable to escape their social fate. The paradox of this cinema made by a majority of left-wing filmmakers was that ultimately it favoured a rather traditional view of society. By contrast, my research shows that the idea of friendship and solidarity prevailed over economic and social hardship in French cinema. Although this depiction of society was largely consensual, it nevertheless opened the debate for social alternatives.

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6

Oscherwitz, Dayna Lynne. „Representing the nation cinema, literature and the struggle for national identity in contemporary France /“. Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.

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7

Phillips, Alastair. „City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés“. Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.

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Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.

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8

Trippe, William Micah. „Where are the urban mechanics? : the case of the French city film 1926-1930“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.

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9

Ward, Glenn. „Journeys into perversion : vision, desire and economies of transgression in the films of Jess Franco“. Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6928/.

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Due to their characteristic themes (such as 'perverse' desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish 'sex and horror' specialist Jess Franco. My textual and contextual analysis shows that Franco's films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco's treatment of 'aberrant' and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco's portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. But these possibilities do not amount to the 'radicality' sometimes attributed to the exploitation field. Focusing on international co-productions from early 1960s to mid 1970s, I discuss the ideological ambivalence of their fascination with 'perversity' and 'otherness'. Chapter 1 argues that The Awful Dr Orlof challenges dominant standards of quality in contemporary Spanish cinema, that its figuring of monstrosity contains a potential critique of Francisco Franco's dictatorship, and that it only partially destabilises the genre's traditional gender codes. Chapter 2 discusses femme fatale stereotypes and fantasy tropes in Venus in Furs. Mixing visual discourses of 'high' and 'low' culture in an evocation of male 'mad love', this film dramatises vision in a way which problematises the notion of the mastering, coherent gaze. Chapter 3 argues that Franco's female vampire films embody, while reflexively estranging, heteronormative male fascination with the 'otherness' of female/'lesbian' desire. Franco's supposed transgressivity is often referred to as Sadeian; through a reading of Demoniac and Franco's 'captive women' imagery, the final chapter therefore discusses the political possibilities, contradictions and limitations of Franco's Sadeian representations.

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10

Langlois, Suzanne 1954. „La résistance dans le cinéma français de fiction (1944-1994) /“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.

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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.

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11

Walkley, Sarah Elizabeth. „To what extent can France continue to defend the cultural exception in the digital age? : an analysis of cultural diversity in the French film industry“. Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80230/.

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Since the first General Agreement on Tariffs and Trade in 1947, France has insisted that cultural products are different from other traded goods and should be exempted from ongoing liberalisation of international trade – a principle known as the ‘cultural exception’. This exclusion allows France to implement policies in favour of its cultural industries, particularly a highly complex system of quotas and subsidies for the film industry which it maintains is essential to counter US market dominance and maintain cultural diversity. Over the past decade, the launch of video-on-demand services has revolutionised how films are delivered and consumed. Policy-makers have attempted to keep pace with these developments, expanding the scope of French support schemes accordingly. Adopting a mixed methods approach, this thesis analyses cultural diversity in the French film industry in detail, incorporating for the first time both the cinema and video-on-demand sectors and combining qualitative and quantitative data to understand the impact of French policies on diversity. Quantitative analysis reveals strong evidence of diversity in both sectors but that, while digital channels offer greater variety of choice, cinema is more balanced between films of different geographic origins. Employing a consistent approach to policy development in both channels, policy-makers have failed to take into account these and other differences, or to target measures at the emerging threats to diversity in the digital environment – potentially undermining the French defence of the cultural exception on diversity grounds. There is a surprisingly superficial use of the term cultural diversity in trade circles, leading to the conclusion that a more sophisticated approach is needed. Refining French policy in line with empirical data and actively using that evidence to demonstrate policy success will be a necessary part of this more sophisticated approach if France is to successfully defend the cultural exception in future trade negotiations.

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12

Norrie, Kathleen Margaret. „Family patterns in French films of the 1930s and of the Occupation“. Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.

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13

Vaughan, Michael Hunter. „From camera to code : Godard, Resnais and the problem of representation in film theory“. Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.

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This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a system of reference. The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's Cinéma project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.

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Peters, Claire Isla MacLeod. „Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'“. Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.

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This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to separate the disciplines of postcolonial and post-Holocaust studies, and in so doing contests the conceptual separation of metropolitan, European and colonial histories. As such, it contributes to a growing interdisciplinary field of French and Francophone studies that extends the object of study beyond the purely metropolitan. I draw on and engage with theoretical work in the fields of memory studies, postcolonial studies and post-Holocaust studies to consider how urban space opens up a legitimate new way of engaging with the overlaps and intersections between different memories without undermining the crucial element of difference. Underpinned by poststructuralist concerns, memory emerges here as an inherently constructed concept.

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Koch, Anna. „Characters as social beings : social performance in the French and Czechoslovak New Waves“. Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:21a0725e-0028-4ddb-9c9d-4eee40148cc3.

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This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, and instigate a social kind of engagement with the films. Where narrative context conventionally provides the framework for a character's actions, in these unconventional films, it is the characters' social environments that more precisely contextualize their way of being. The aim of the thesis is to engage with these social contexts to understand the characters' social behaviours, and to examine how the 'vérité aesthetic' evokes a social kind of reading of the films. To this end, I develop in the first chapter a Goffmanian approach to the films, inspired by sociologist Erving Goffman's writings on social reality as a performative realm. I use his notions of social performance, social framework, and social perception to engage with each film through what I call a 'social gaze' that inspects the social dynamics of the characters' behaviours. Over the course of three case study chapters, I apply this approach to the films to unearth and discuss their social range of meaning. This thesis thus aims to contribute both to film historical scholarship on the 1960s European New Wave, and to a study of the aestheticization of social reality in film in general.

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Bellego, Christophe. „Three empirical essays on movie admissions in the french motion picture industry“. Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E060.

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A la frontière entre les industries du divertissement et la production culturelle, grand fournisseur de contenu à l'économie numérique, l'industrie du cinéma soulève des questions intéressantes dans le champ de l'économie et du marketing. Cette thèse répond à trois questions empiriques importantes sur ce sujet à l'aide de différentes méthodes adaptées (économétrie des données de panel, différence-de-différences, économétrie structurelle) et propose un nouveau développement théorique du modèle nested logit. Le premier chapitre étudie l'effet des notes des consommateurs sur Internet, et analyse la complémentarité et la substituabilité de ces notes avec l'information disponible avant la sortie des films en salle. Le deuxième chapitre étudie l'effet redistributif de la loi anti-piratage Hadopi sur les entrées des films en salle, en écartant minutieusement les phénomènes alternatifs pouvant affecter les résultats. Le troisième chapitre considère la saisonnalité dans l'industrie française du cinéma et décompose séparément les entrées des films en salle en le niveau de l'offre (le nombre et la qualité des films), la demande saisonnière sous-jacente, les variations météorologiques, et les promotions nationales en estimant un modèle nested logit à trois étages tenant compte de la congestion des films dans les salles de cinéma. Le modèle est utilisé pour identifier les dates de sortie optimales en fonction des types de film
At the frontier between entertainment industries and cultural production, vital content provider of digital economy, the motion picture industry raises several interesting questions in the field of economics and marketing. This dissertation tackles three important empirical questions in the motion picture industry using different methods (panel data models, difference-in-differences, and structural econometrics) and brings a new theoretical development about the nested logit model. The first chapter deals with online consumer reviews, also known as electronic word of mouth (eWOM), and focuses on the extent to which prerelease information alters the effect of eWOM on movie sales. The second chapter studies the collateral damages of the French anti-piracy law known as Hadopi on box office performances of movies, by carefully ruling out alternative explanations of the result. The third chapter investigates on seasonality in the French movie industry. The analysis separately identifies and decomposes movie sales into the number and quality of available movies, underlying seasonal demand, weather shocks, and national sales promotion by estimating a three-level nested logit model of weekly demand accounting for congestion on movie theaters' screens. The model is used to identify optimal release periods depending on the types of movie

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Viraben, Hadrien. „Le savant et le profane : documenter l'impressionnisme en France, 1900-1939“. Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanes
In 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses

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McMahon, Orlene Denice. „Listening to the French new wave : the film music and composers of postwar French art cinema“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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19

Bias, Rebecca H. „From golden age to silver screen French music-hall cinema from 1930-1950 /“. Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

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Cazdyn, Eric M. „Problem cinema : culture, capital and form in Japan /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.

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21

Chan, Kim-mui Eileen. „Postmodernity and recent Hong Kong cinema /“. Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.

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22

Carbonaro, Joseph. „Enabling church members to evaluate the moral content of feature films“. Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Tam, Siu-yan Xavier. „Between penumbrae and shadow contextualizing transnational queer Chinese cinemas /“. Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44142663.

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24

Wang, Qi. „Writing against oblivion personal filmmaking from the forsaken generation in post-socialist China /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619151901&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Restoule, Jean-Paul. „How "Indians" are read the representation of aboriginality in films by native and non-native directors /“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30998.pdf.

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Craddolph, Hayden V. „Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media“. online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

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Yang, Jing. „The construction of the Chinese woman in 1990s American cinema“. Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.

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Lau, Tsz-wan Christal. „Ethics in the production of Hong Kong movies“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

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Williams, Danielle E. Winn J. Emmett. „Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /“. Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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Szaloky, Melinda Terezia. „Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /“. Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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31

Zhu, Ying. „From art to commerce : Chinese cinema in the era of reforms /“. Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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32

Ming, Kee-ying Thomas. „An analysis of the filmic : a philosophical grounding for film aesthetics /“. [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

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33

Tiburzi, Brian M. „The fifth generation Chinese cinema's "great leap forward" /“. online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1445180.

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Galt, Rosalind. „Redrawing the map of Europe space, history and spectacle in new European cinema /“. [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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35

Gulledge, Jim. „A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /“. Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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36

Berrien, John P. „The portrayal of the clergy in selected American films from the 1930's to the 1970's“. Theological Research Exchange Network (TREN) Access this title online, 1989. http://www.tren.com.

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37

Luce, Micah. „The cinema and the church experiential [koinonia] in audience and congregation /“. Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

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38

Suen, Pak-kin. „Filming gay representations : male homosexuality in Hong Kong and Taiwanese cinema /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23242036.

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39

Potter, George Alexander. „Iphone to IMAX: the social implications of screen size“. Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/potter/PotterG1208.pdf.

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Screen size changes the way the moving image affects viewers and specific content is more likely to be influential if screened on the most appropriate media type. The ever-increasing popularity of portable devices, like the iPhone, means that viewers are watching more content on smaller screens than ever before. At the same time, movie theatres and Imax screens are still as popular as ever and seeing something on the big screen holds some kind of magic for the viewer. This fact has not been lost on environmental filmmakers who are increasingly finding ways of using different sized screens to promote their cause. Ultimately, the size of the screen not only determines what viewers watch, and how they are affected by what they see, but can actually be the deciding factor for whether they take action on an issue.

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40

Dawson, Harold. „The commodification of tragedy a critical examination of contemporary film /“. Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=786.

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41

Falicov, Tamara Leah. „The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

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42

Kunkle, Daniel James. „No brute images the need for a Reformed and transcendental approach to the movies /“. Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

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43

Lee, Tain-dow. „Reforming film study at the level of higher education in Taiwan, the Republic of China /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147137.

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44

Schweitzer, Dennis C. „Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /“. Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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45

Lee, Christina H. P. „Beyond the pink : (post) youth iconography in cinema /“. Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.

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46

Yeung, Yuk-ngan. „Gender representation in films“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?

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47

Tam, Siu-yan Xavier, und 譚兆仁. „Between penumbrae and shadow: contextualizingtransnational queer Chinese cinemas“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44142663.

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48

Athique, Adrian Mabbott. „Non-resident cinema transnational audiences for Indian films /“. Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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49

Crilly, Shane. „"Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /“. Connect to this title online, 2004. http://hdl.handle.net/2440/37939.

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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).
Thesis (Ph.D.)--School of Humanities, 2004.

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50

Haygood, Ashley. „The rise of controversial content in Film“. Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.

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