Dissertationen zum Thema „Swiss Motion picture plays“
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Pramik, Nicole R. „Chaotic angel“. Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=730.
Der volle Inhalt der QuellePerkins, Margaret. „Song of Bacchus a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2004“. Full thesis. Abstract, 2004.
Den vollen Inhalt der Quelle findenAbruzzi, Geoffrey. „Three screenplays“. To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Der volle Inhalt der QuelleCooper, Madeline. „Exegesis and screenplay for a feature film entitled: PictureSque a dissertation submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Bachelor of Communication Studies (Honours) (BCS(Hons)), 2008 /“. Click here to access this resource online, 2008.
Den vollen Inhalt der Quelle findenSnead, Nicholas DeVan. „Fabulistic: Examination and application of narratology and screenplay craft“. CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.
Der volle Inhalt der QuelleMelville, Andrew. „Exegesis and screenplay for a film entitled Mangrove a thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Communication Studies), August 2004“. Full thesis. Abstract, 2004.
Den vollen Inhalt der Quelle findenTitle page and table of contents missing from e-thesis. Also held in print (14 p., 30 cm.) in Wellesley Theses Collection (T 791.4372 MEL)
Armanno, Venero. „Three screenplay adaptations and the ownership effect“. Thesis, Queensland University of Technology, 2003.
Den vollen Inhalt der Quelle findenEggert, Silke. „Exegesis and screenplay for a film entitled : Spaces between us a thesis submitted to the AUT University in partial fulfilment of the degree of Masters of Communication studies (MCS), 2008 /“. Click here to access this resource online, 2008. http://hdl.handle.net/10292/482.
Der volle Inhalt der QuelleSu, Xinxin. „Genesis : a feature screenplay /“. Online version of thesis, 2009. http://hdl.handle.net/1850/8692.
Der volle Inhalt der QuelleMcVeigh, Kathryn Margaret. „Work in progress : the writing of Short changed“. Thesis, Queensland University of Technology, 1999.
Den vollen Inhalt der Quelle findenRitchie, Brendan. „CooperStreet' (original screenplay); and, Into the foreground : an examination of setting in the screenplay“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.
Der volle Inhalt der QuellePreston, 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/.
Der volle Inhalt der QuelleVilavella, Hélène. „Le cinéma dégénéré : Max Ophuls 1950-1957 /“. Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/8281.
Der volle Inhalt der QuelleZagala, Anna. „Three point turn : the screenplay Three point turn and the critical paper "Figuring displacement" /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19346.pdf.
Der volle Inhalt der QuellePouliot, Carolle. „Le scénario : cinéma ou littérature?, suivi de Malebouge“. Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63846.
Der volle Inhalt der Quelle周宇. „崔扬的时代“. HKBU Institutional Repository, 2008. https://repository.hkbu.edu.hk/etd_ra/900.
Der volle Inhalt der Quelle曾嘉晴. „Ex files“. HKBU Institutional Repository, 2008. https://repository.hkbu.edu.hk/etd_ra/901.
Der volle Inhalt der QuelleNatalenko, Rie. „Exegesis to support Heloise“. Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060807.152947/index.html.
Der volle Inhalt der QuelleMeurice, Francine C. R. S. G. „Le texte du scénario filmique“. Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212121.
Der volle Inhalt der QuelleHuman, Jacobus Francois. „'n Kontrolelys vir die skryf en evalueer van dramadraaiboeke“. Thesis, Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11052008-105503.
Der volle Inhalt der QuelleLyon, Alicia B. „The Offering : writing a historical screenplay /“. View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/31115633.
Der volle Inhalt der QuelleShepherd, Barrett James. „'Party Season: A Screenplay-Based Inquiry into Filming and Judgment, with Accompanying Essay'“. The University of Waikato, 2007. http://hdl.handle.net/10289/2430.
Der volle Inhalt der QuelleCheng, Shing-yip, und 鄭成業. „A contrastive investigation of the use of interjections by male and female speakers in Cantonese and English play, film and televisionscripts“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26760009.
Der volle Inhalt der QuelleNowak, Tom. „Maverick of the Mounties“. Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/127.
Der volle Inhalt der QuelleLaing, Chason Alexander. „Awakening“. Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001--1213.
Der volle Inhalt der Quelle"While some of the characters from this screenplay are based upon the life and times of Charles G. Finney; this is a fictional story." Includes bibliographical references (leaves [111-119]).
Santos, Sillas Carlos dos. „O processo criativo para roteirização nas mídias digitais : os casos de Anymalu e Agência Transmídia /“. Bauru, 2019. http://hdl.handle.net/11449/183165.
Der volle Inhalt der QuelleBanca: Marcos Américo
Banca: Glaucia Eneida Davino
Resumo: Discute-se a influência do advento das mídias digitais no processo de criação de roteiros para produções audiovisuais ficcionais brasileiras. Contextualiza-se a relação entre tecnologias e narrativas e também da produção de roteiros audiovisuais. Em seguida, discute-se esta influência a partir de um estudo de caso múltiplo, acompanhado de entrevistas em profundidade com criadores de produções brasileiras para mídias digitais
Abstracts: This discusses the influence of digital media in the process of creating Brazilian fictional screenplays. It adresses the relationship between technologies, narratives, and screenplay production. Then, this subject is approached from a multi-case study and in-depth interview with creators of Brazilian productions
Mestre
Bather, Neil. „"There is evil there that does not sleep-" : the construction of evil in American popular cinema from 1989 to 2002 /“. Connect to this title online, 2006. http://adt.waikato.ac.nz/public/adt-uow20070125.105814/.
Der volle Inhalt der QuelleGreene, Jason. „New planet“. Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/278.
Der volle Inhalt der QuelleBachelors
Arts and Sciences
Liberal Studies
Hong, Ki Myung. „Exegesis and screenplay for a film entitled: White Magnolia“. Click here to access this resource online, 2009. http://hdl.handle.net/10292/790.
Der volle Inhalt der QuelleNdounou, Monica White. „The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.
Der volle Inhalt der QuelleBeaulieu, 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.
Der volle Inhalt der QuelleKloss, Michael P. „Civil uprising“. Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/68.
Der volle Inhalt der QuelleBachelors
Arts and Sciences
Liberal Arts
Blatman, Andrew. „The Balloon Shipment“. Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/740.
Der volle Inhalt der QuelleB.F.A
Bachelors
Arts and Sciences
Film
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.
Der volle Inhalt der QuelleEnders, Mark Enders Mark. „No laughing matter an exploration of the role of the protagonist in Australian feature films classified as social comedies /“. Connect to this title online, 2004. http://adt.library.qut.edu.au/adt-qut/public/adt-QUT20050224.101747/.
Der volle Inhalt der QuelleSantos, Fernanda Bornancin. „Deslocamentos tecnológicos e artísticos na prática dos microrroteiros da cidade“. Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2032.
Der volle Inhalt der QuelleEsta pesquisa propõe uma reflexão sobre como a dimensão tecnológica na prática dos Microrroteiros da Cidade se constitui como fator fundamental de seus processos de co-construção e mediação de circulações, dinâmicas e possibilidades de desdobramento. Criado em 2009 pela artista e roteirista paulistana Laura Guimarães, o projeto consiste em pequenas intenções de roteiro que convidam à visualização de histórias e situações vivenciadas por pessoas que transitam e/ou habitam a cidade de São Paulo. A linguagem utilizada nos textos dos microrroteiros é, ao mesmo tempo, uma relativização do roteiro de cinema e do código técnico de escritura do Twitter – uma plataforma de microblogging que prioriza o compartilhamento por meio de mensagens curtas de até 140 caracteres. Por meio de levantamento fotográfico, entrevista e coleta de dados, realizamos um mapeamento dos trânsitos dessas dinâmicas e, posteriormente, desenvolvemos uma análise das opções tipográficas, dos variados suportes, composições e das conexões entre diferentes espaços geográficos identificados. A fundamentação da pesquisa é realizada a partir da Teoria Crítica da Tecnologia de Andrew Feenberg e da leitura do autor sobre as considerações de Herbert Marcuse em relação à tecnologia e a arte. Refletimos também a respeito de deslocamentos de processos artísticos e comunicacionais desencadeados a partir da década de 1960 por um viés teórico latino-americano, sustentado por Néstor García-Canclini e Jesús Martín-Barbero, no intuito de analisarmos como a prática dos Microrroteiros da Cidade e suas dimensões técnico-estéticas se constituem nas dinâmicas das redes sociais e dos códigos urbanos em que se localiza. Desse modo, compreendemos as hibridações de linguagens expressas nessa prática artística como deslocamentos que ocorrem não de modo linear, mas de maneira cruzada e simultânea, borrando fronteiras de autoria e de fruição passiva, possibilitando outras construções de visualidades, coletivos e randômicos, mediando processos de ressignificação e reapropriação da cidade.
This research proposes a reflection about how the technological dimension in the practice of Microrroteiros da Cidade constitutes a fundamental factor of its co-construction and mediation processes of circulation, dynamics and deployment possibilities. Microrroteiros’s project was created in 2009 by the artist and screenwriter Laura Guimarães. Its approach involves small script intentions that invites São Paulo’s population to imagine and visualize scenes that happen in the city. The language used in microrroteiros texts is, at the same time, a relativization of screenplay and Twitter’s technical code – a microblogging plataform that priorizes the share of 140 character messages. Through photographic survey, interview and collection of data, we made a transit mapping of this dynamics and, after that, we developed an analysis of the typographic options, the various media, compositions and connections between different geographic areas identified. The theoretical foundation of this research is based on Andrew Feenberg’s Critical Theory of Technology, and on considerations that this author does about Herbert Marcuse’s theorical position on technology and art. Supported by Néstor García-Canclini and Jesús Martín-Barbero, we observe some shifts of artistic and communication processes triggered from the 1960s by a Latin American theoretical bias, in order to analyze how the practice of Microrroteiros da Cidade and their technical and aesthetic dimensions are constitutive in the dynamics of social media and urban codes in which it is located. Thus, we understand the hybridizations of this artistic practice as displacements that occur in a nonlinear way, but crossed and simultaneous, blurring boundaries of autorship and enabling other visual, collective and random constructions, mediating processes of reinterpretation and reappropriation of the city.
Scrivin, Nicholas. „'The Bobby Calf' - non linear and non classical narrative structures in the cinema of unease“. Click here to access this resource online, 2008. http://hdl.handle.net/10292/688.
Der volle Inhalt der QuelleFawns, Kathleen Mary. „Mater Hill : a screenplay“. Thesis, Queensland University of Technology, 1999.
Den vollen Inhalt der Quelle findenRezende, Marília Abrão. „O mistério no cinema: questões de gênero, hibridação e escrita de roteiros“. Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21339.
Der volle Inhalt der QuelleMade available in DSpace on 2018-08-13T13:06:59Z (GMT). No. of bitstreams: 1 Marília Abrão Rezende.pdf: 15635182 bytes, checksum: dd6d5b283854e0b868ff7662c531c98a (MD5) Previous issue date: 2018-06-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research regards the mystery on cinema, noting and questioning its typological statute; pointing out its relationship with the following typologies: whodunit, noir, and suspense thriller; and observing the building up of mystery on screenwriting. More specifically, we pose the question: which elements, noticeable since the script, contribute to the understanding of these films as mystery films? Therefore, our corpus comprises three screenplays: Rear Window (1953), Chinatown (1973) and Memento (1999). The screenplay’s analysis is supported somewhat by the work of Jule Selbo –– researcher and screenwriter who studies genre as a tool for writing feature-films ––, and also looks for noticing (A) which situations in these scripts alludes to the mystery universe and the genres related to it; (B) which are the emotional effects provoked on the spectator by the use of genres (C) how could the genres that crosses a script be related to the film’s relevance on its time? The concept of genre adopted comes mostly from Rick Altman, who understands the generic kind in historical perspective instead of seeing it as a fixed category. Altman’s semantic-syntactic approach makes possible the observation of elements that contribute to the analysis of the screenplays mentioned above, summing up to Selbo’s approach. The bibliography also contains names as Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale –– authors that explore the genres in various directions. Beyond them, we found help on a diverse range of authors and researchers, who enriched the discussion. We believe that the relevance of this research is related to the few numbers of works in Brazil regarding the mystery’s statute, as well as to the scarce academic studies related to the practice of screenwriting
Esta pesquisa volta-se para o mistério no cinema, notando e questionando seu caráter tipológico; assinalando sua imbricação com as tipologias do whodunit, do noir e do thriller de suspense; e observando a construção do mistério na etapa de roteirização. Mais especificamente, pergunta-se: quais elementos, presentes desde a etapa do roteiro, contribuem para a apreensão desses filmes enquanto filmes de mistério? Para tanto temos um corpus composto por três roteiros fílmicos: Rear Window (Janela Indiscreta, 1953), Chinatown (Chinatown, 1973) e Memento (Amnésia, 1999). A análise dos roteiros apontados se fundamenta no trabalho de Jule Selbo –– pesquisadora e roteirista que estuda o gênero enquanto ferramenta para a escrita de roteiros longa-metragem –– e busca observar (A) quais situações nesses roteiros remetem, de forma mais imediata, ao universo do mistério e dos gêneros a ele relacionados; (B) quais as relações afetivas que são despertadas no espectador a partir dos gêneros; (C) de que forma os gêneros que perpassam tais roteiros relacionam-se à pertinência dos respectivos filmes na sua contemporaneidade. O conceito de gênero aqui adotado é o de Rick Altman, que entende as categorias genéricas em plano histórico e não como formas imutáveis. A abordagem semântico-sintática do autor possibilita o apontamento de aspectos que contribuem para a observação dos roteiros em questão, complementando a abordagem de Selbo. Os referenciais teóricos da pesquisa também envolvem outros estudiosos como Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale — autores que trabalham o gênero cinematográfico em suas diferentes dimensões. Além disso, encontramos respaldo em importantes nomes da história do cinema. Acreditamos que a relevância da pesquisa liga-se à escassez, na universidade brasileira, de trabalhos relacionados ao estatuto do mistério, bem como à raridade de estudos teóricos que se relacionem à prática de roteirização
Stansell, Thomas Micah. „Between You and Me“. Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.
Der volle Inhalt der QuelleEckardt, Michael. „The development of film criticism in Cape Town's daily press 1928-1930 : an explorative investigation into the Cape Times and Die Burger“. Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53767.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.
Gérard, Fabien. „La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci“. Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
Der volle Inhalt der QuelleSchmid, Birgit. „Die literarische Identität des Drehbuchs : untersucht am Fallbeispiel "Agnes" von Peter Stamm /“. Bern [u.a.] : Lang, 2004. http://www.loc.gov/catdir/toc/fy0710/2007398475.html.
Der volle Inhalt der QuelleKagan, Michal Lali. „Wonderer : the life of Bruce Chatwin“. Thesis, Queensland University of Technology, 2002.
Den vollen Inhalt der Quelle findenPeeler, Scott Edward. „The dynamics of proximity : Hitchcock's cinema of claustrophobia“. Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.
Der volle Inhalt der QuelleMacKenzie, Elizabeth. „Sacrificial versions /“. 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29581.
Der volle Inhalt der QuelleIncludes: We'll always have Paris : a contextual essay on Sacrificial versions. Typescript. Includes bibliographical references. Includes filmography. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29581
Cousins, Robert James. „Child of the American night : a screenplay /“. 2004. http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MR00975.
Der volle Inhalt der QuelleTypescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MR00975
Bell, Lindsay Dale-Ann McGovern Jimmy. „Priest, from screen to stage : a dramaturgical transposition of Jimmy McGovern's screenplay /“. 1997. http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp05/mq21125.pdf.
Der volle Inhalt der QuelleSubmitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Master of Arts, Department of Drama. Also available online.
Jovanovic, Nenad. „The part played by labour in transition from ape to man“. 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.
Der volle Inhalt der QuelleTypescript. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.
Kalnay, Sydney. „Catfight /“. 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29572.
Der volle Inhalt der QuelleTypescript. Includes bibliographical references (leaves 124-128). Filmography: p. 129-131. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29572