Dissertationen zum Thema „Motion pictures – brazil – history and criticism“
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1
Fleming, David H. „Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind“. Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
2
Yalvac, Ahsen. „A cultural critique of Turkish cinema in relation to "Arabesk"“. Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23272909.
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Rydzewska, Joanna. „East meets West meets Auteur : transnational encounters with imagined identities in British and Polish cinema“. Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678569.
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4
Insell, Maria Katherine. „Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
5
Mercer, Nicholas R. „Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication“. University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
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This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
6
Ross, Oliver Paul. „Same-sex desire and syncretism : 'homosexualities' in Indian literature and film“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.
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Preston, Barry A. (Barry Alan). „Myths and Movies: a Mythographical Methodology of Motion Picture Analysis“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279362/.
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Over the past decade, cinema studies scholars have begun to recognize the value of mythographical methodologies for motion picture analysis; however, most of the scholarly research in this field has focused either on mythic archetypal images or on monomythic narrative structure, rather than combining the two approaches into a unified theory. This essay addresses the problem by proposing a mythographical methodology of motion picture analysis based on Carl Jung's theory of archetypal images and Joseph Campbell's theories concerning the monomythic structure of heroic narratives. Combining the two approaches of myth interpretation results in a more comprehensive methodology for interpreting the mythic elements of motion pictures. This essay illustrates the application of this methodology through a detailed analysis of Terry Gilliam's film, The Fisher King.
8
Gallagher, Kaleen. „Female suicide in German literature and film since 1955“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709204.
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Hofmann, Ingrid. „Deadly seductions : femme fatales in 90's film noir“. Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.
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Mahdaviani, Bita. „Towards the legitimation of cinema : coverage of urban entertainment in the Toronto World and the Globe, 1896-1920“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33913.
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This thesis stems from a general interest in press coverage of culture industries and products and the ways in which it links them to contemporary social and political concerns. The present project specifically takes The Globe and The Toronto World, two of the major daily newspapers of Toronto, as its combined object of analysis. It selects particular events and periods during the emergence of early film as popular amusement as the contexts for the study of articles, reports, columns, and editorials that centred around urban cultural issues as well as cinema. It explores the extent to which these particular events and periods figured in the papers' attention upon the new medium and its place in the everyday life of the city. These contexts were selected with an assumption of their newsworthiness for the daily press. However, upon examination it became evident that, while the majority of them did produce a concentrated attention in both dailies, not all of them did. Still, because they instantiated profound shifts in urban entertainment at the turn of the century, they were kept as historical backgrounds for the analysis of the newspapers's construction of modern culture. (Abstract shortened by UMI.)
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Gibb, Adrienne. „Poetics of distraction : Ozaki Midori's writings on film“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81492.
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The cinematic experience in Taisho Japan was a defining part of a spectrum of modernity's experiences associated with daily urban life. This paper argues that rather than theorizing film in rational terms common to "serious" film criticism focussing on aspects of production, Ozaki Midori envisioned the cinematic experience from the standpoint of an enthralled spectator, in terms of a sensual, bodily interaction with the cinematic image. Given the over-determined relationship of women to mass culture, one that is wrought with contradictions, Ozaki's writings on film open up the question of gender as it relates to spectatorship and the development of subjectivity within mass culture. Ozaki writes from a perspective within the cinematic experience in which the boundaries between spectator and image collapse. Ozaki offers a new mode of thinking and writing, a poetics of distraction to articulate and comprehend the modern experience.
12
Tso, Wing-bo, und 曹穎寶. „Representation of female vampires in Bram Stoker's "Dracula" and horror films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.
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吳月華. „歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969“. HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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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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Sa, Neto Arthur Autran Franco de. „O pensamento industrial cinematografico brasileiro“. [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.
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Orientador: Jose Mario Ortiz RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca chegou a se configurar plenamente, investigam-se quais as propostas para sua constituição, analisando desde as promessas aí contidas até suas limitações e contradições. Para realizar tal pesquisa foram utilizados livros, artigos, entrevistas, memórias e os próprios filmes nos quais diretores, críticos, produtores e políticos expõem suas idéias sobre como formar a indústria cinematográfica e quais devem ser os seus objetivos econômicos e culturais. Também foram realizadas comparações com o rádio e a televisão, a fim de se delinear diferenças presentes no ideário das três áreas passíveis de explicar, ainda que parcialmente, os motivos pelos quais o cinema não se desenvolveu economicamente tanto quanto aquelas indústrias culturais
Abstract: Not informed.
Doutorado
Multimeios
Doutor em Multimeios
16
Wong, Wai-yee, und 黃慧儀. „Returning the gaze: the femme fatale in the film noir of the 90s“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952884.
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Ramos, Luciano 1946. „Oswaldo Massaini : um produtor na história do cinema brasileiro“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285261.
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Orientador: Fernão Vitor Pessoa de Almeida RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese consiste num levantamento acerca da história da produção e da comercialização de filmes de entretenimento em São Paulo, tomada como vertente específica da história do cinema brasileiro e elegendo como protagonista, ou eixo central da narrativa a trajetória de Oswaldo Massaini e das empresas às quais ele esteve vinculado: a Cinédia e, principalmente, a Cinedistri. Foi ele o produtor de O Pagador de Promessas em 1962, o único filme brasileiro a ser agraciado, até hoje, com a Palma de Ouro do Festival de Cannes. O período abordado se inicia nos anos de 1930, com a origem da Cinédia onde Oswaldo Massaini ingressou, em 1943, e termina com a sucessão da Cinedistri pela Cinearte na década de 1980. Mas avança no tempo um pouco mais, porque Massaini deixou sucessores ainda em atividade. Focalizando em detalhe suas estruturas de produção, esta pesquisa procura conhecer melhor os meandros e a lógica dessa trajetória empresarial comprometida com a produção e a distribuição de filmes unicamente brasileiros, marcada por uma continuada estabilidade ao longo de quase meio século
Abstract: This thesis consists of a survey on the history of the production and marketing of filmed entertainment in Sao Paulo, taken as a specific aspect of the history of Brazilian cinema and electing as the protagonist, or central axis of the narrative the trajectory of Oswaldo Massaini and the firms to which he was bound: the Cinédia and especially the Cinedistri. He was the producer of "O Pagador de Promessas" in 1962, the only Brazilian film to be awarded, to this date, with the Palme d'Or at the Cannes Film Festival. The period covered begins in the 1930s, with the presence of Oswaldo Massaini at the Cinédia, which began in 1937 and ends with the succession of the Cinedistri to Cinearte in the 1980s. But advances in time a bit longer, because Massaini left successors still active. Focusing in detail their production structures, this research seeks to better understand the intricacies and logic that committed to the production and distribution business history of only Brazilian films, marked by a continued stability, during over nearly half a century
Doutorado
Multimeios
Doutor em Multimeios
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Gao, Qian. „Remembering the Cultural Revolution : history and nostalgia in the marketplace /“. view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421604431&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 182-204). Also available for download via the World Wide Web; free to University of Oregon users.
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Jooste, Rina. „Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
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Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
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Ng, Stephanie Yuet Wah. „Modes of production in post-war cantonese cinema : bricolage and sing-song comedy“. HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
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Shao, Dong, und 邵棟. „A study of yingxi fiction in the early republican China = Min chu ying xi xiao shuo yan jiu“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206447.
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The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance.
This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well.
Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies.
Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed.
Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations.
Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded.published_or_final_version
Chinese
Master
Master of Philosophy
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Khouri, Malek. „Ideology and critical politics in the discourse on Canadian cinema“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26924.pdf.
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毛思慧 und Sihui Mao. „Technologising the male body: British cinema 1957-1987“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B42128560.
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Bain, Keith Norman. „Hyperartifical cinema and the art of cool“. Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
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Thesis (PhD)--Stellenbosch University, 2002.ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
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Hull, Thomas William Allan. „Selling Moral Panic: Social Scientific Criticism of Movies and Comic Books for Children, 1925-1955“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1263949945.
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Douglas, John Anthony Art College of Fine Arts UNSW. „Aberations of self : manifestations in cinema histories“. Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.
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The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the directors intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the films meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.
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Smith, Keith. „Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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Lefler, Thomas J. „In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture“. Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
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Giordano, Maria Graciela. „Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.
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Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.
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Dorworth, Vicky E. „Learning about the criminal justice protagonists: a content analysis of gender messages in the crime film genre“. Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/27987.
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Various forms of popular culture serve to educate and socialize as well as influence human behavior. In a discipline such as criminal justice, little is known by the general public about the individuals involved with the system: the law enforcer, the victim, and the offender. Therefore, the construction of reality for most is likely to come from media representation.
A content analysis was used as a method to systematically evaluate crime films over a period of 20 years to investigate what gender messages were apparent in the genre. A sample of 42 crime films was drawn beginning in 1972 through 1992. The main and supporting characters were analyzed to determine if gender differences existed in regard to occupational representation, victimization, and offending. Focus was on occupational representation. The data was compared to the official data to ascertain whether the gender representations in the films reflected the official data. Trends over the 20 year period were analyzed to determine if the portrayal of women and men over the years reflected the changes experienced in the criminal justice system.
The research provided an understanding of the content of this form of popular culture. Males were more likely included in the films than females. This is consistent with the reality of male domination in the field of criminal justice and with past research which indicated that women were often excluded from films. Computed Chi-square tests indicated that significant relationships existed between sex and evidence of the police personality; sex and character appearance in casual, uniform, and seductive attire; sex and use of all types of force; sex and use of expert and coercive power; and sex and aggression as a style of conflict resolution. T Tests revealed that there were sex differences in character appearance in uniform and seductive attire, use of aggression as a style of conflict resolution, commission of crime, and commission of nonviolent crime.
The films closely represented the official data in regard to male and female violent offenders with a small overrepresentation of female violence and an equally small underrepresentation of male violence. Women were underrepresented as property offenders and men were overrepresented. In terms of victimization, women were overrepresented as victims of violent crime and property crime.
Over the two decades, women were consistently absent when compared to the number of men casted in the films; were consistently underrepresented as law enforcers, with the exception of two, three year intervals; and were most often casted as wives or girlfriends of law enforcers except in one, three year interval. Men were most likely to be seen as law enforcers in every interval, again consistent with the male domination seen in the law enforcement field. Sexism Level I films, indicating extreme sexism, was found to be at least in 67% of all films for each three interval except from 1984 to 1986.Ed. D.
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Belzile, Germain. „Documentaires québécois de 1970 à 1980, esthétique du montage“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26159.pdf.
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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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Boswell, Brian T. „From scat to satire toward a taxonomy of humor in twentieth century American media /“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/637.
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Tsang, 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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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Pasholok, Maria. „Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
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Rogers, Jami. „Shakespeare and the thirties : representations of the past in contemporary performance“. Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.
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This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.
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Murphy, Caryn E. „Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s“. Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.
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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate female liberation through consumption. The source of difference between the cycles of teen romantic comedy is attributed to the media's attempt to position Generation Y teenagers as ideal consumers.
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Lam, Nga Li. „The poetics and sexual politics of the Shaws' huangmeidiao films“. HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/699.
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Hopper, Keith. „Imagining otherwise : Neil Jordan's counter-narratives“. Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
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Beaulieu, Renée. „Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.
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廖志強. „<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration“. HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.
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Hanaway-Oakley, Cleo Alexandra. „'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema“. Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.
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Carvalho, Danielle Crepaldi 1982. „Luz e sombra no écran : realidade, cinema e rua nas crônicas cariocas de 1894 a 1922“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269890.
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Orientador: Miriam Viviana GárateVol. 2 possui o subtítulo: Antologia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese compila e analisa a prosa cronística a respeito do kinetoscópio/ cinematógrafo, publicada em periódicos cariocas de 1894 a 1922 - dos primórdios dos media até o estabelecimento do cinema enquanto indústria sólida e arte. Debruça-se sobre uma questão candente postulada neste período que vai da entrada do kinetoscópio no Brasil até o burilamento do star system: aquela que diz respeito ao "realismo" cênico; passo fundamental na transformação do cinema norte-americano em uma das principais indústrias de seu país. O "realismo" das imagens em movimento, desde logo assinalado semanticamente pela denominação de "objetiva" atribuída às lentes que as captavam, enredou os cronistas desde a chegada do invento ao Brasil. O estudo centra-se no modo como esse realismo foi experimentado e pensado por escritores como Arthur Azevedo, Paulo Barreto/João do Rio, Olavo Bilac, Elvira Gama, Figueiredo Coimbra, Eva Canel, Baptista Coelho, Figueiredo Pimentel e Graça Aranha. O eixo da pesquisa visa a estabelecer como o kinetoscópio e o cinematógrafo moldaram o olhar dos cronistas à cidade e, em especial, às ruas do Rio de Janeiro, naqueles anos em que as vielas acanhadas da cidade provinciana transformavam-se em vias elegantes abertas como palcos, a convidarem a "sociedade" a trocar o âmbito privado pela flânerie pública. O trabalho procura analisar estruturalmente e tematicamente os textos cronísticos, no diálogo que estabeleceram com as produções cinematográficas vistas na capital. Lança-se, portanto, num trabalho interdisciplinar, que procura ler o cinema a partir das múltiplas relações estabelecidas com as produções culturais de seu tempo: o gênero teatral, a mise-en-scène dos museus, os panoramas pintados, o romance folhetinesco, a notícia jornalística, etc. Falamos, pois, de um percurso de mão dupla entre encenação e realidade, segundo o qual o "real" é encenado tendo-se por base convenções cênicas e literárias já solidificadas
Abstract: This thesis compiles and analyses the chronicle regarding the kinetoscope/ cinematograph published in carioca's newspapers and magazines from 1894 to 1922 - from the beginning of these media up to the establishment of the cinema as both a solid industry and as an art form. It aims to deal with a big issue of this period of time that goes from the arrival of the kinetoscope in Brazil until the development of the star system: the scenic "realism"; a fundamental step for the transformation of the North American cinema in one of the most important industries of the USA. The "realism" of the moving pictures, semantically determined by the name given to the cinematographic lenses - "objective" - moved Brazilian newspapers writers from the beginning. This piece of work centers in the way this realism was experimented and though by writers such as Arthur Azevedo, Paulo Barreto/João do Rio, Olavo Bilac, Elvira Gama, Figueiredo Coimbra, Eva Canel, Baptista Coelho, Figueiredo Pimentel and Graça Aranha. The goal of the research is to establish how the kinetoscope and the cinematograph gave form to the way writers observed the city in general, and specially the streets of Rio de Janeiro in those years when the unbreathable alleys of the provincial city turned into long and elegant avenues built up as open stages - inviting the "Society" to give up private habits to public ones. This study regards the chronicles considering their structure and themes, and the dialogue they established with the moving pictures seen in Rio. Therefore, it's driven into an interdisciplinary job, regarding the cinema from the multiples relations it established with the cultural production of its time: the theater plays, the museums' mise-en-scène, the painting "panoramas", the newspaper novels and reports, etc. We're talking about a two-way path between staging and reality, according to which "real" is staged using as a model solid scenic and literary conventions
Doutorado
Historia e Historiografia Literaria
Doutora em Teoria e História Literária
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Callahan, Sarah Francis. „A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.
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The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.
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Hwang, Yun Mi. „South Korean historical drama : gender, nation and the heritage industry“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
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Baldwin, Jillian. „Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
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Gille, Quentin. „Propositions pour un paradigme culturel de la phono-cinématographie: des phono-scènes aux vidéoclips et au-delà“. Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209309.
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La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips).
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
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Leme, Caroline Gomes 1986. „Cinema e sociedade = sobre a ditadura militar no Brasil“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281781.
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Orientador: Marcelo Siqueira RidentiAcompanhado de 2 DVDs: Cenas compiladas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: De 1979 aos dias atuais, a ditadura militar fez-se presente em um número significativo de obras fílmicas. Analisar essa produção cinematográfica é examinar como está sendo ressignificado o passado, quais questões estão sendo obliteradas, que ambiguidades e tensões perpassam a interpretação do processo sócio-histórico. Esta pesquisa propõe-se a trabalhar a relação entre cinema e sociedade no que tange aos enunciados social e culturalmente construídos a respeito do período do regime militar vigente no Brasil de 1964 a 1985. O objeto de investigação são os filmes de longametragem lançados entre 1979 e 2009 que se reportam ao tema da Ditadura Militar no Brasil e seus desdobramentos. O pressuposto é o de que as obras fílmicas, enquanto produções culturais, podem ser consideradas meios legítimos e diferenciados para o conhecimento da sociedade, uma vez que são constitutivas da realidade social, produzindo significados, valores e proposições expressados através de sua construção própria. Pauta-se na concepção de cultura do materialismo cultural de Raymond Williams (2000) e fundamenta-se essencialmente no referencial teórico-metodológico de Pierre Sorlin (1985,1994). Realiza-se um levantamento amplo e fundamentado da filmografia que tematiza a ditadura militar brasileira e dedica-se um olhar mais atento aos seguintes filmes: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980); Nunca fomos tão felizes (Murilo Salles, 1984); Corpo em delito (Nuno Cesar Abreu, 1990); Ação entre amigos (Beto Brant, 1998); A terceira morte de Joaquim Bolívar (Flávio Cândido, 2000) e Zuzu Angel (Sérgio Rezende, 2006), os quais correspondem a um espectro amplo de possibilidades cinematográficas.
Abstract: From 1979 to today, the military dictatorship has been theme of a significant number of movies. Analyze this filmography is to examine how the past has been reframed, what aspects are being obliterated, what are ambiguities and tensions that underlie the interpretation of socio-historical process. This research proposes to study the relationship between cinema and society with respect to the socially and culturally constructed enunciations about the period of military rule in Brazil (1964-1985). The object of investigation are the feature-length films released between 1979 and 2009 that relate to the theme of military dictatorship in Brazil. It is assumed that the movies, as cultural productions, can be considered legitimate and differentiated sources for investigate the society, since they are constitutive of social reality and produce meanings, values and propositions expressed by its own construction. It is guided in the concept of culture from Raymond Williams (2000)'s cultural materialism and is based essentially on Pierre Sorlin (1985, 1994)'s theoretical and methodological framework. It is done a broad and grounded survey of the filmography that deals with the Brazilian military dictatorship and is dedicated a closer attention to the following films: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980);
Mestrado
Sociologia
Mestre em Sociologia
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Botha, Jacqueline. „The myth is with us : Star Wars, Jung's archetypes, and the journey of the mythic hero“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019/506.
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Robinson, Scott E. (Scott Elmon) 1961. „Dichotomy in American Western Mythology“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.
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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature.