Dissertationen: „Queer theory in motion pictures“

1

Lee, Chi-kwan Anita, und 李至君. „Analysing female desire: queer theory in contemporary cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B42574705.

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2

Lee, Chi-kwan Anita. „Analysing female desire : queer theory in contemporary cinema /“. Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B42574705.

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3

Sinwell, Sarah E. S. „Fear of a queer cinema danger, sex, and identification in contemporary American independent film /“. [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264324.

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Thesis (Ph. D.)--Indiana University, Dept. of Communication and Culture, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1705. Adviser: Joan Hawkins. "Title from dissertation homepage (viewed Jan. 14, 2008)."

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4

Soles, Carter Michael. „Falling Out of the Closet: Kevin Smith, Queerness, and Independent Film“. Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/9021.

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Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 415-429). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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5

McDougald, Melanie. „Where I am, There (Sh)it will be: Queer Presence in Post Modern Horror Films“. unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07162009-154006/.

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Thesis (M.A.)--Georgia State University, 2009.
Title from file title page. Margaret Mills Harper, committee chair; Calvin Thomas, Mary Hocks, committee members. Description based on contents viewed Oct. 14, 2009. Includes bibliographical references (p. 47-48); filmography (p. 49-51).

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6

Ryan, Joelle Ruby. „Reel Gender: Examining the Politics of Trans Images in Film and Media“. Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.

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7

Pillion, Owen L. „On Objects and Affections: Contemporary Representations of the Gay Man/Straight Woman Dyad in Popular Film and Television“. Thesis, Connect to this title online, 2000. http://www.library.unt.edu/theses/open/20003/pillion%5Fowen%5Fl/index.htm.

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8

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

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9

Ryan, Christopher James. „Hunks of Meat: Homicidal Homosociality and Hyperheteronormativity in Cannibal Horror“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1343086134.

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10

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

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11

Mulligan, Georgia. „The queer cinema of Jacques Demy“. Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/107760/.

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This thesis examines the cinema of Jacques Demy through a variety of queer and feminist lenses. It aims to investigate and politicise Demy’s marginalisation in French film culture, and place his cinema in its social and cinematic context in a way that few previous studies have done. Demy’s films trouble hierarchies of cultural value and binary oppositions, and they often include multiple cultural registers and modes of address, and draw from diverse cinematic traditions. In order to account for the films’ hybridity, the thesis uses several methodologies. It performs close analysis on ten of Demy’s thirteen feature films, in order to make arguments informed by theoretical frameworks such as camp, feminist writing on the women’s film, and recent queer theory on failure. Through an engagement with the contemporary reception of Demy’s films, the thesis also investigates the reasons for his marginalisation. The case study of Demy’s cinema is thereby used to challenge and complicate the canons and narratives of French cinema, with the understanding that canon formation reflects the values of dominant groups. The first chapter outlines where the thesis fits in a fairly sparse body of scholarly writing about Demy, and highlights key theoretical and methodological texts. Next, the thesis turns to Demy’s place in the French New Wave canon. This chapter analyses Lola (1961), La Luxure (1962) and La Baie des Anges (1963), and draws out issues of genre and address. Chapter three, on Demy’s ‘failed’ films, acknowledges that most of Demy’s films were critical and box-office failures. It analyses two of these films, Model Shop (1968) and Parking (1985). Chapter four, on camp, uncovers the political project of Demy’s camp aesthetics, by reading Les Demoiselles de Rochefort (1967) and L’Evénement le plus important depuis que l’homme a marché sur la lune (1973) through the lens of camp. Finally, chapter five argues that Demy’s use of Hollywood genres place these films in a specific and historicised emotional register. The case studies in this chapter are the sung melodramas Les Parapluies de Cherbourg (1964) and Une chambre en ville (1982), and the musical Trois places pour le 26 (1988). This thesis is among the first scholarly works to consistently approach Demy as a queer filmmaker, informed by extensive archival research into his films’ reception. It therefore represents a significant contribution to an emerging body of work on a heretofore neglected filmmaker.

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12

Macleod, Allison. „Spaces of collision : queer masculinities in recent Irish cinema“. Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/5246/.

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This thesis maps out and analyses images of queer masculinities in recent Irish cinema to investigate what forms of queerness are enabled through their intersections with national specificity. In recent years images of non-normative masculinities have become increasingly visible in Irish cinema. These images can be seen as resulting from economic, political and social changes taking place in Ireland and globally, as well as the Irish Film Board’s (IFB) revised mandate in 1993 of encouraging indigenous filmmakers to cater to international audiences and more mainstream appeal. Yet while non-normative masculinity, and specifically non-normative male sexuality, is becoming more visible on Irish screens, the on-screen subject is frequently evacuated of his sexuality to function as allegory for the Irish nation. Using non-normative sexuality as allegory risks reinforcing heteronormative power structures and prevents any sustained critical engagement with representations of sexual desire in Irish society. In this thesis I offer a more rigorous critical engagement with the sexual politics and socio-cultural conditions that have determined the shape and evolution of these representations, while also interrogating the relationship between on-screen visibility and progressive sexual politics. Irish identity has historically been delimited by Ireland’s complex colonial history with Britain and its struggle for independence, which have shaped Ireland’s national narrative and privileged political and sectarian identities over other forms of identification. Nationalist and Catholic discourses in Ireland have promoted rigidly defined gender identities and sexual norms to reinforce a dominant patriarchal and heteronormative order, and to maintain the perceived stability and political hegemony of the nation. In this thesis I use a queer analytic approach to explore the conflicted and often contradictory relationship between ‘national’ and ‘queer’, positing identity as fluid, historically contingent and discursively constructed, and locating identities in-between gender and sexual binaries. This thesis focuses on eleven Irish films released between 1984 and 2007. I use close textual analysis that foregrounds space to examine how the queer Irish male subject negotiates his identity in relation to his surroundings, and how specific social and spatial sites reinforce dominant norms and heterosexual privilege through the construction, regulation and policing of queer identities, communities and cultures. By examining the ways in which films represent social and sexual marginality through the use of space, and how relations of power and difference shape and are reproduced through social discourses and spatial practices, I am able to offer a fuller understanding of these representations, and the ideologies and norms that underpin them, as well as provide insights into a variety of different forces that shape how these representations are framed.

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13

Hughes, Katherine Ross. „Queer possibilities in teen friendships in film, 2000-2009“. Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4085/.

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This thesis seeks to determine how representations of dyadic teen homosocial bonds and relationships in film lend themselves to queer possibilities. Looking at teens in film across genre, certain types of dyadic homosocial relationships emerge: the best friendship, the antagonistic teen girl friendship, the boys friendship within a wider homosocial milieu, and friendships which fit these types but include gay and lesbian characters. I ground the research by establishing a record of the films released theatrically in the UK between 2000 and 2009 with teens as primary characters, and develop a qualitative and textual analysis of dyadic homosocial relationship types which illuminates their queer possibilities as well as the modes of denial and compensation which may accompany the threat those queer possibilities represent. As it investigates the policing of gender and heterosexual norms in teen homosocial relationships in key texts such as Aquamarine (Allen 2006), Superbad (Mottola 2007), Thirteen (Hardwicke 2003), The Covenant (Harlin 2006), Evil (Håfström 2003), and My Summer of Love (Pawlikowski 2004), the research here expands teen film studies, and applies queer reading practices to an often under-analysed segment of film. It also contributes to gender studies, as the findings here point to the ways that boys continue to be tied to physicality, violence, and athleticism, while girls continue to be tied to mirrors, masquerade, and manipulation. The move to include a variety of genres allows a consideration of how genre-specific tools of analysis, such as those developed in relation to the teen film genre or to dyadic homosocial relationship films such as the buddy film and female friendship film, can be productively mobilised across genres. Issues such as denial of homosocial desire through displacement, triangulated relationships, and passing heterosexual foils link these films to the history of films about homoerotic homosocial friendships. I argue here that queer possibilities are present in a wide variety of otherwise heteronormative films. My arguments centre on structures of desire and denial within homosocial friendships, as well as to the similarities between the heteronormative representations of homosocial desire and those present in specifically gay and lesbian narratives. The ways that these emerge are gender and age specific. By bringing out the denied and repressed homoerotic desires in these films, I demonstrate their existence in various forms. The thesis demonstrates that, in keeping with dyadic homosocial relationships between adult characters, in representations of dyadic homosocial bonds, the boundaries between homosocial/homosexual remains fluid in friendships between teen girls while it is much more rigidly separated in friendships between teen boys, primarily through homophobia, even in films containing gay and lesbian main characters.

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14

Peach, Ricardo. „Queer cinema as a fifth cinema in South Africa and Australia“. University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.

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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.

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15

Mak, Anson Hoi Shan. „Bi aII means the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II /“. Connect to this title online, 2000. http://sunzi1.lib.hku.hk/hkuto/record/B31223163.

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16

Mak, Hoi-shan Anson. „Bi all means : the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030463.

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17

Blose, Chris. „Ideas in action : film theory in film criticism /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421115.

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18

Mak, Hoi-shan Anson, und 麥海珊. „BI AII means: the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223163.

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19

Furstenau, Marc. „Cinema, language, reality : digitization and the challenge to film theory“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.
This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.

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20

Ho, Ka-hang Jason. „Reinterpreting a queer experience a study of Stanley Kwan's films and their reception /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B34877642.

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21

Ho, Ka-hang Jason, und 何家珩. „Reinterpreting a queer experience: a study ofStanley Kwan's films and their reception“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B34877642.

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22

Isaacs, Bruce. „Film Cool: Towards a New Film Aesthetic“. Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.

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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.

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23

Isaacs, Bruce. „Film Cool: Towards a New Film Aesthetic“. English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.

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PhD
The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.

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24

Goodyer, Meigan Gates. „Literary theory, the novel and science media“. Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/goodyer/GoodyerM0508.pdf.

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25

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

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26

Ng, Kal. „Architectural cinema a theory of practice for digital architectural animation /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4308574X.

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27

Munro, Emily J. „The language problem in European cinema : discourses on 'foreign-language films' in criticism, theory and practice“. Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/3776/.

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The thesis describes a range of discourse on language in cinema as they have emerged in film reception, production and exhibition contexts in Europe, and assesses their implications for the critical construction of European cinema. The thesis argues that the ‘problem’ of language is constituted in a number of pervasive but seldom acknowledged discourses which have circumscribed the ways in which the category ‘European cinema’ is understood. The primary sources utilised in the research, which date from the 1920s to the present day, are film magazines and journals, trade journals, policy documents and interviews. The thesis pays particular attention to the exhibition and reception cultures surrounding ‘foreign-language films’ in Britain. It takes a historical approach in addressing the cineaste attitudes promoted in the magazines Close-Up and Sight and Sound, and reflects upon the reaction against the film appreciation tradition communicated by the journal Screen. The thesis also explores the positioning of European cinema at film festivals and contemplates the translation issues therein, including the contemporary correspondence between the practice of subtitling and rhetoric on the ‘original version’ and the culturally ‘authentic’ film. It examines how language is implicated in the argument for a ‘cultural exception’, which was used in defence of European film industries during the 1993 GATT negotiations, and considers how filmmakers in Denmark have attempted in their production activities to test the parameters of this discourse on exceptionality by producing Dogma ’95 and English-language ‘cross-over’ films. The thesis finally looks at the relationship between Scottish cinema exhibitors and the European Commission, organisations which are institutionally linked through the Europa Cinemas network, and suggests that a similar ethics of consumption is articulated by each with respect to European cinema. The thesis argues that while the status of European cinema as foreign-language cinema is rarely addressed, its framing as such nonetheless impinges significantly upon the ways in which European films are consumed.

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28

Zhao, Meng. „Understand the misunderstanding a study incorporating uses and gratifications theory on why Chinese film audiences see America the way they do /“. Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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29

Todd, Jeffrey M. „Einstein's film theory of montage and architecture“. Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21653.

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30

Olivier, Francois. „A queer (re) turn to nature? : environment, sexuality and cinema“. Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95805.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis is in interested in the potential of (New) Queer Cinema, with its often cited subversive qualities, as a means to delineate the historical and discursive dimensions of an ongoing relationship between the politics of nature and sexual politics, and to articulate the complex array of ideas that result from this relationship. In this thesis, I investigate how a selection of films actively reproduce, question, deconstruct, or reinforce particular constructions of nature and/or epistemologies of (homo)sexuality, often demonstrating such ideas through particular expressive modes, such as nostalgia, mourning, melancholia, and postmodern play, and by referencing certain literary forms, such as the pastoral, georgic and elegy. To facilitate the analysis I outline above, I have chosen to investigate three films which enable me to move from national to transnational and postcolonial cinematic contexts. I read these films alongside a selection of literary/historical texts that I feel inform or preface each filmic text. The first film is James Ivory’s adaptation (1987) of E.M. Forster’s novel, Maurice. The second is Derek Jarman’s elegiac film, The Garden (1990), which I read alongside the English filmmaker’s journal, Modern Nature (1991). And finally for my third chapter I turn to the work of Canadian filmmaker, John Greyson; specifically Proteus (2003), his recent collaboration with South African activist/filmmaker, Jack Lewis. This final filmic text prompts questions of postcoloniality and Eurocentric modes of knowledge production. I provide context for my argument by outlining recent developments in the history of Queer Cinema and by introducing two distinct but related areas of recent academic enquiry – firstly the notion of Queer Ecology (alongside related studies on the “gay pastoral”) and, secondly, the field of Green Film Criticism or Ecocinema.
AFRIKAANSE OPSOMMING: Hierdie tesis handel oor die potensiaal van (Nuwe) “Queer Cinema”, met sy bekende ondermynende eienskappe, om die historiese en diskursiewe dimensies van ’n voortgesette verhouding tussen die politiek van die natuur en van seksualiteit af te beeld, en om die komplekse verskeidenheid van idees wat volg uit hierdie verhouding, te verwoord. In hierdie tesis doen ek ondersoek na die wyse waarop ’n versameling films sekere konstruksies van ‘natuur’ en/of epistemologieë van ‘(homo)seksualiteit’ aktief herproduseer, bevraagteken, dekonstrueer of versterk. Hierdie idees word dikwels uitgebeeld deur middel van sekere ekspressiewe modusse soos nostalgie, rou, melankolie of postmoderne speelsheid, en deur verwysing na sekere literêre vorme of genres soos die pastorale of landelike gedig en die elegie. Die bostaande analise is gebaseer op drie films wat my in staat stel om te beweeg tussen nasionale, transnasionale en postkoloniale kontekste. Ek beskou elk van hierdie films in die lig van ’n gepaardgaande versameling literêre/historiese tekste wat volgens my sentraal staan tot die volle verstaan van die filmiese tekste. Die eerste film is James Ivory se aanpassing (1987) van E.M. Forster se roman, Maurice. Die tweede is Derek Jarman se elegiese film, The Garden (1990), wat ek tesame met hierdie Engelse filmmaker se joernaal, Modern Nature (1991), beskou. Laastens kyk ek na die werk van die Kanadese filmmaker John Greyson, met spesifieke fokus op sy onlangse samewerking met die Suid-Afrikaanse aktivis en filmmaker, Jack Lewis, in die verfilming van Proteus (2003). Hierdie finale filmiese teks vra vrae oor postkolonialiteit en Eurosentriese vorme van kennisproduksie. Ek kontekstualiseer my argument deur ŉ beskrywing te bied van die onlangse verwikkelinge in die geskiedenis van “Queer Cinema” en van twee afsonderlike, maar verwante akademiese gebiede wat onlangs aandag geniet, naamlik die idee van “Queer” Ekologie (en die nou-geassosieerde ‘gay pastorale’) en Groen Film Kritiek of “Ecocinema”.

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Pillion, Owen L. „Queer affluence, popular media, and the matter of the openly gay spokesperson“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4661.

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Thesis (Ph.D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 19, 2009) Vita. Includes bibliographical references.

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Ng, Kal, und 吳家龍. „Architectural cinema: a theory of practice for digital architectural animation“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4308574X.

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33

Ogawa, Sho. „Conflicting views of homosexuality among the mainstream films and gay "pink" films of Japan“. Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217700754.

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Hoffman, Warren D. „Gay-valt : queer performance and identity in twentieth-century Jewish American literature, theater, and film /“. Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://wwwlib.umi.com/dissertations/fullcit/3135065.

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Mackay, Cameron Hugh. „Buzz in motion pictures : what is buzz and how can marketing create it?“ Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/64115/1/Cameron_Mackay_Thesis.pdf.

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In the movie industry, the extraordinarily successful theatrical performance of certain films is largely attributed to buzz. Despite longstanding commentary about the role of buzz in successful movie marketing and the belief that it accelerates new product diffusion, limited scholarly evidence exists to support these assertions. This is primarily due to the lack of conceptual distinction of buzz from word-of-mouth, which is often used as the main basis for conceptualising buzz. However, word-of-mouth does not fully explain the buzz surrounding films such as 'Gone With The Wind', 'The Dark Knight' and 'Avatar'. Informed by valuable insights from key experts who have launched some of the most successful movies in box office history, as well as a range of moviegoers, this thesis developed a deeper understanding of what buzz is and how it is created. This thesis concludes that buzz is not the same as word-of-mouth.

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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. „Transgressive territories queer space in Indian fiction and film /“. Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.

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Marie, Laurent. „The French Communist Party and French cinema 1944-1999“. Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/3061/.

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This dissertation examines the relationship between the French Communist Party (PCF) and French cinema between 1944 and 1999. The approach adopted is an historical and political one, exploring the context behind the changing relations between the Party and the film industry. Both institutions have played a crucial part in the weaving of the political and cultural fabric of the country throughout the period. For both the PCF and French cinema, the Liberation marked a new beginning and a new relationship with the French state. Looking closely at the French Communist outlets over four key periods - the Liberation and the Cold War, the New Republic, May '68 and the 1990s -, the evolution of the positions of the PCF regarding both film as an industry and film as an art-form is examined with particular emphasis on the links and the differences between the film policy advocated by the PCF and its critical discourse on French cinema. Since 1944 and PCF has kept a close watch on France's film industry, participating, from the Blum-Byrne agreements to the demonstrations against the MAI, in every battle for its defence. The unique blend of State involvement in film matters and professional resilience in the face of foreign competition which defines French cinema today owes much to this Communist involvement. Yet in spite of this continuous support the PCF has not left a strong mark on French cinema either in aesthetic or ideological terms, and the silver screen has hardly ever broadcast the PCF viewpoint. The reluctance shown by some in the Party to acknowledge the concept of auteur as well as the Party's own history serve to explain this absence. Until the 1980s, the PCF's discourse was dominated by the defence of France's national culture, although some Communist critics and auteurs disputed this vision tainted with economism.

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Benfey, Matthias Wilhelm. „Religious cinema as virtual religious experience : a theory of religious cinema applied to Werner Herzog's Herz aus Glas“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72087.

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The dissertation is an exercise in the application of the philosophical hermeneutics of Paul Ricoeur and the biblical hermeneutics of John Dominic Crossan to the aesthetics of religious cinema.
The thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case).
Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.

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Hubbard, Christine Karen Reeves. „Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.

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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.

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Britt, Tara Danielle. „Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /“. Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.

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Pedlingham, Graeme G. „The (un)scene of memory : energetic theory and representation in theatre and film“. Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6939/.

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The wager of this thesis is that, firstly, there exists an intrinsic relationship between memory and representation in visual performative media and, secondly, that a referential, Aristotelian conception of memory is made problematic by these same visual media. There are aspects within the ontology of both theatre and film, the specific media examined, which resist the model of representation that this memory constitutes. It is my contention that there is an alternative conception of memory, more appropriate to the difficulties that theatre and film present, which enables another way of understanding these media. This other memory is derived from the distinction in Freud's work between psychoanalysis as a hermeneutics, and as an energetics. I draw upon an 'energetic' conception of memory as the foundation for an energetic approach to theatre and film. In the first chapter I enunciate this distinction in Freud's work, tracing his energetic model from the Project of 1895 to the role of affect in the metapsychological papers, before moving to its elaboration by later psychoanalysts (including André Green, Christopher Bollas and César and Sára Botella). For the second chapter, I relate this psychoanalytic discussion to poststructuralist theory, which Freudian energetics has considerably influenced. This is examined through Jacques Derrida's interpretation of Freud's work on memory, and Jean-François Lyotard's own philosophy of energetics (with which much of my work is in dialogue). The third and fourth chapters turn to theatre and film respectively. Each chapter initially explores the aspects of each medium that complicate the more familiar notion of referential memory as a relevant model of representation. I then establish how these same points of difficulty demonstrate an affinity with an energetic approach, opening the possibility of a new way of thinking theatre and film through memory, and of thinking memory through these visual media. A comparative approach is taken to identify and articulate the distinctiveness of these particular media, through their unique interactions with energetic theory. Looking ahead, this aims to provide the foundation for developing a means of addressing emergent visual media (particularly the videogame), which similarly complicates hermeneutic readings, based upon a study of their most significant antecedents: theatre and film.

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Mussell, Simon Paul. „Constellations of Adornian theory and film : readings of Adorno with Tarkovsky and Haneke“. Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6964/.

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This thesis engages in analysis and interpretation of certain ideas within the critical theory of Theodor W. Adorno (1903-1969). These analyses are placed into a constellational relationship with some filmic works of Andrei Tarkovsky and Michael Haneke. In doing so, I aim to highlight the ongoing relevance and validity of at least some core elements of Adornian theory in a contemporary context. The thesis consists of four substantive chapters. The first chapter functions as an extended introduction to and justification for the thesis as a whole, and it provides the theoretical background to the project before explicating the idea of a constellational method. The second chapter explores the notion of mimesis in Adorno's thought and Tarkovsky's films as a crucial rejoinder to the prevailing ‘communicative' paradigm instituted in large part by Jürgen Habermas' work. The third chapter considers the importance of marginality to the task of social critique by analyzing Adorno's theoretical reflections on the matter and how these can be related to and supported by Haneke's filmic work. The fourth and final chapter examines the relationship between humanity and nature within two preeminent ecological discourses, in contrast to Adorno's critical theory and some of Tarkovsky's films, with the intention of showing how the latter offer a more nuanced and dialectical understanding of this relation. Throughout the analyses herein, I defend and demonstrate the fertility and pertinence of Adornian theory, for both the interpretation of film and robust criticism of extant social and political conditions. The thesis shows that by constellating Adorno's critical theory with film one may bring out important insights that enhance and enable people's capacity to critically respond to the woefully inadequate status quo.

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Miller, Heather Anne. „Tonto and Tonto speak an indigenous based film theory /“. Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/miller/MillerH0506.pdf.

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44

Hickey, James William. „Cinemaesthetics : a college-level curriculum in film and communication theory, aesthetics and ethics, critical thinking, reading, and articulation skills /“. Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10992649.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1990.
Typescript; issued also on microfilm. Sponsor: Carla Seal-Wanner. Dissertation Committee: Robert McClintock. Includes bibliographical references: (leaves 176-178).

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Dancey, Angela Clair. „Before and after the makeover in film and culture /“. Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1126899524.

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46

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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Forrett, Steven Lawrie. „Movie poster advertisements: A relevance theory persepctive“. CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3236.

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The purpose of this thesis is to examine ten movie posters while hypothesizing whether or not their tagline texts could interest a reader. A linguistic framework Relevance Theory, is used in the analysis of this project.

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Chang, Hsin-Ning. „Viewing the Long Take in Post-World War II Films: A Cognitive Approach“. Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.

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Maysonet, Joel R. „Wine & Beer“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4951/.

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Wine & Beer tells the story of childhood friends Brian and Vic who, after spending some time apart, deal with the tensions of sexual orientation after they attempt to renew their friendship. At the beginning it seems that Vic's sexuality will not be a problem, but after the two friends hang out in a local bar, Brian realizes his hometown is not as tolerant as he is. The couple is faced with family and social concerns, which goes from the argumentative to the violent. As the main characters try to mingle with the conservative town, they soon find themselves looked upon by a small town resistant to change. This 35-minute film explores homophobia and violence in small town USA.

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吳晶. „杜琪峯的電影世界 : 香港電影作者個案研究 = The cinema world of Johnnie To : a case study of auteur in Hong Kong“. HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/906.

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Dissertationen zum Thema „Queer theory in motion pictures“

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