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Thematische Bibliographien / National characteristics, French, in motion pictures / Dissertationen

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Dissertationen zum Thema „National characteristics, French, in motion pictures“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 18. Februar 2022

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1

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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2

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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3

Sungsri, Patsorn. „Thai cinema as national cinema : an evaluative history /“. Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.

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4

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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5

Martínez-Abeijón, Matías. „Identidad, mito y prescripción una nueva ola de realismo en España. El cine de Iciar Bollaín, Fernando León, Achero Mañas y Benito Zambrano en el cambio de siglo /“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199295318.

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6

Sánchez, Mosquera José A. „Democratic gays, modern gays the construction of homosexual characters in Spanish films during the transition (1975-1978) /“. Connect to this title online, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD%5F0020/MQ57684.pdf.

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7

Slavin, John. „Lost causes : the ideology of national identity in Australian cinema /“. [Melbourne : University of Melbourne, 2002. http://eprints.unimelb.edu.au/archive/00000297.

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8

Neely, Sarah. „Adapting to change in contemporary Irish and Scottish culture fiction to film /“. Connect to e-thesis, 2009. http://theses.gla.ac.uk/757/.

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Thesis (Ph.D.) - University of Glasgow, 2003.
Ph.D. thesis submitted to the Department of English Literature and Department of Film and Television Studies, University of Glasgow, 2003. Includes bibliographical references. Print version also available.

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9

McDiarmid, Tracy. „Imagining the war /“. Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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10

Mukora, Wanjiku Beatrice. „Disrupting binary divisions : representation of identity in Saikati and Battle of the sacred tree“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0016/MQ55002.pdf.

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11

McDiarmid, Tracy. „Imagining the war / imagining the nation : British national identity and the postwar cinema, 1946-1957“. University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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[Truncated abstract] Many historical accounts acknowledge the ‘reverberations’ of the Second World War that are still with the British today, whether in terms of Britain’s relationships with Europe, the Commonwealth, or America; its myths of consensus politics and national unity; or its conceptions of national character. The term ‘reverberations’, however, implies a disruptive, unsettling influence whereas today’s popular accounts and public debates regarding national identity, more often than not concerned with ‘Englishness’ as a category distinctive from ‘Britishness’, instead view the Second World War as a time when the nation knew what it was and had a clear understanding of the national values it embodied a time of stability and consensus. This thesis demonstrates that, in the postwar period, ‘British’ was not a homogeneous political category, ‘Britishness’ was not a uniformly adopted identity, and representations of the nation in popular cinema were not uncontested. British national identity in the postwar 1940s and 1950s was founded upon re-presentations of the war, and yet it was an identity transacted by class, gender, race and region. Understandings of national identity ‘mirrored’ by British films were influenced by the social and political context of their creation and reception, and were also a reflection of the cinema industry and its relationship to the state. Both ‘national cinema’ and ‘national identity’ are demonstrated to be fluctuating concepts dominant myths of the war were undermined and reinforced in response to the demands of the postwar present.

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12

MacKenzie, Scott. „A screen of one's own : québéçois cinema, national identity, and the alternative public sphere“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35007.

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This dissertation explores the connections between image-making practices, discourses of nationalism, Quebecois cinema and the possibility of the cinema functioning as an alternative public sphere. The thesis draws upon sociological theories of nationalism, political theory, film theory, critical theory and cultural critique in order to reconsider the potential political power of the cinematic image. After surveying contrasting theories of nationalism, the thesis addresses itself to Jurgen Habermas' concept of the public sphere and the revisions of this concept undertaken by contemporary social and political theorists. The use-value of the concept of the public sphere in relation to film theory is then explored. Beginning with pioneering work of Leo-Ernest Ouimet in the silent era and continuing on through to the video activism of Societe nouvelle and the "post-referendum" cinema of Denys Arcand and Robert Lepage, this thesis traces recurring instances of the cinema functioning as a contestatory and alternative public sphere in Quebecois culture.

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13

Dunagin, Kultida Boonyakul. „Cultural Identity in Thai Movies and Its Implications for the Study of Films in Thailand“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277966/.

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The primary purpose of this study was to find the content and form of movies which conform to the taste of the majority of Thai audiences and, at the same time, are universal enough to attract international audiences. Because film is an extension of other art forms, this required extensive research into the roots of Thai performing arts.

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14

Sampson, Desiree. „Towards a Caribbean Cinema - Can there be or is there a Caribbean cinema?“ Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1103230687.

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15

Alvarez, Fabiola. „The Scottish national screen agency : justifications of worth“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5020.

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This thesis examines the role of the former national screen agency in Scotland, which was in charge of distributing public funds for screen activity between 1997 and 2010. It examines how external factors such as cultural policy and internal factors such as individual approaches to film funding, affected the agency's perception and remit. The study draws on the institutional logics perspective (Thornton et al., 2012) to frame the interplay of two competing imperatives, one commercial, one creative, affecting the creative industries in Scotland and Scottish Screen's activities more specifically. However, it goes beyond this duality by examining more nuanced factors which significantly affected the organisation's trajectory and remit. Taking into account the predominant logic(s) throughout Scottish Screen's history and focusing on organisational responses during moments of transition or conflict, I use the analytical framework developed by Boltanski and Thévenot in On Justification (2006) to examine criticisms, justifications, and attempts at compromising expressed through official and non-official channels. The thesis outlines how opinions and decisions stemming from disparate views of what is “worthy” affected the agency's activity and funding decisions, as well as the dialogue with its stakeholders. The conclusions extracted from my findings inform existing literature on responses to plurality and challenge some claims made by institutional logic scholars: the first conclusion is that lack of conflict between logics does not necessarily translate into lack organisational conflict, as the latter often derives from different orders of worth which override the commercial-creative logic divide and are incompatible amongst themselves. The second conclusion, related to the first one, is that stability may be enhanced (at least temporarily) in a professional environment dominated by a plurality of logics as long as there is compatibility amongst the orders of worth set forth in pursuit of organisational goals. A third conclusion is related to the examination of some contributions to the orders of worth perspective and the study of plurality and instability in organisational practices, notably Boltanski and Chiapello's (2007) depiction of a seventh world of worth called the ‘projective city' (underpinned by the higher value of activity aimed at creating or maintaining ever-changing networks), and David Stark's (2009) study of plurality and ambiguity management in organisations. My findings suggest that organisational models based on pervasive, horizontal networks capable of transgressing traditional hierarchical structures were never fully deployed in Scottish Screen - traces of these practices are identified, but, overall, actors defended more traditional organisational scripts.

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16

Antonietti, Iris A. „Enforcing fragments : a critical analysis of the mythological messages in Frank Capra's Why we fight series“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397368.

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This thesis is a rhetorical analysis of Frank Capra's World War II information film series, Why We Fight, produced from 1942-1945. The series' mythological messages are examined using the four national parables as defined by Robert Reich (1987), namely The Mob at the Gates, The Triumphant Individual, The Benevolent Community, and The Rot at the Top. The values conveyed through the national parables are analyzed using a delineation of 17 core American values provided by Steele and Redding (1962). The analysis reveals the basic narrative structure of the series constituted by the myths, The Battle of Good and Evil and The Foundation Myth of America. Particularly, these two myths are crucial for America's shift from an isolationist to interventionist paradigm in foreign policy. This change in the mythical system initiated America's emergence as a world power after World War II.
Department of Telecommunications

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17

Sapre, Manasi. „Memories of Motherland: Gender, Diaspora and National Identity in 1990s Indian Popular Culture“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3076/.

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This thesis examines the role of globalization, an open economy and diasporic experiences on the 1990s popular Indian culture, focusing on discourses of gender, national identity and family. Recent Indian beauty queens and international beauty contests are discussed in the context of gendered nationhood in 1990s India. Several popular films of the 1990s are discussed as narratives expressing longing for an extended family and a homogeneous national identity under the leadership of a traditional father figure. In contrast, independent films interrogate the primacy of ethnic and national identity and raise interesting questions about exilic experience. All of these forms of national and popular culture reflect the conflicting and ever-changing anxieties surrounding national identity and the role of women in India.

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18

Martins, Glauber Ormundo Dias. „Figurações da sociedade americana no cinema de Woody Allen“. Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21186.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-28T13:16:57Z No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5)
Made available in DSpace on 2018-06-28T13:16:57Z (GMT). No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5) Previous issue date: 2018-04-20
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work analyzes two films by Woody Allen in the 1980s - Zelig and The Purple Rose of Cairo - using as methodologies sociological theories and literary and cinematographic critiques. With this, reflections od modernity and American history are analyzed
Este trabalho analisa dois filmes do diretor Woody Allen da década de 1980- Zelig e A rosa púrpura do Cairo- Usando como metodologias teorias sociológicas e de críticas literárias e cinematográficas. Com isto, reflexões a respeito da modernidade e da história americana são analisadas

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19

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

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Includes filmography: leaves 252-256. Bibliography: leaves 241-251. This thesis compares the representation of colonial history in the cinema of France and Australia since 1970. Films examined all had historical colonial settings, a narrative focus principally on aspects of the colonisation process and a director who was descended from former colonisers. It concludes that there are few sustained attempts to confront and resolve the problematic aspects of colonialism's legacy. The tendency to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and avoiding the necessity for dealing with it.

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20

De, la Mora Sergio. „Virile nationalism cinema, the state, and the formation of a national consciousness in Mexico, 1950-1994 /“. Diss., 1999. http://catalog.hathitrust.org/api/volumes/oclc/43319172.html.

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21

McIntosh, David. „Globalization, networks and audiovisual spaces : shifting representational relations in Canada, Mexico and Argentina /“. 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11601.

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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Communications and Culture.
Typescript. Includes bibliographical references (leaves 438-465). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11601

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22

Gerow, Aaron Andrew. „Writing cinema film and literature in prewar Japan /“. 1992. http://catalog.hathitrust.org/api/volumes/oclc/30874228.html.

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Thesis (M.A.)--University of Iowa, 1992.
Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-117).

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23

Falk, Andrew Justin. „Staging the Cold War negotiating American national identity in film and television, 1940-1960 /“. 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.

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24

Hynes, Colleen Anne 1978. „"Strangers in the house": twentieth century revisions of Irish literary and cultural identity“. Thesis, 2007. http://hdl.handle.net/2152/3383.

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This thesis, Strangers in the House, illuminates how "strangers in the house"--unconventional women, Travellers, emigrants and immigrants--have made significant contributions to the evolving traditions of Irish literature and culture. I trace the literary and creative contributions of groups that were silenced during the early twentieth-century nation-building project to review the impact of the Irish Revival, from the politics of Arthur Griffith and Eamon de Valera to the writings of Yeats, Gregory and Synge, on the establishment of an "authentic" Irish identity. I draw on scholarship that establishes Ireland as a postcolonial nation, suggesting that contemporary identity is closely linked to the national, religious and gender expectations reinforced during the periods of colonialism and decolonization. My scholarship considers individuals who continue to be peripheral in the "reimagining" of what it means to be Irish in a post-Celtic Tiger, E.U. Ireland.

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