Dissertations / Theses: 'Advertising – Production and direction'

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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.

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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.

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Cohen, Andrew Connolly. "Advertising as Cultural Production." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10783444.

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This dissertation presents three sociological essays analyzing advertising agencies through the lens of cultural economic sociology. Drawing on 12 months of ethnographic research and 81 interviews across four American advertising agencies, this dissertation presents three explorations of how meaning-making processes are central to the various processes of advertising production.

The first essay explores how market intermediaries help other market actors see the market and their opportunities for action within it. The essay article illustrates how advertising practitioners provide their clients with visions of what the market is and what opportunities for action lie within it, developing advertising campaigns to match that vision. These accounts of the market and its opportunities are dynamically negotiated, both reflecting and shaping the identities of the clients, their target audiences, and the intermediaries themselves. Because intermediaries dramaturgically perform these interpretations of the market for their client in micro-level interactions, they must also deal with disagreement, contestation, and negotiation over their visions of the market.

The second essay explores how advertising agencies consume and produce consumer research. Taking a relational approach to the production of advertising, this essay conceives of the work agencies do as part of establishing viable exchange relationships with their clients in which the client exchanges money for the agency's ideas for campaigns. The analysis shows how agency employees—in particular, account planners—first negotiate what kinds of consumers matter with their clients, then produce consumer research in ways that helps them generate particular types of qualitative materials. Agency employees then use those materials to craft aesthetic, material representations of the consumer that can serve as exchange media to facilitate the broader exchange of campaign ideas and money.

The third essay takes adopts a pragmatic sociological framework to examine conflict in advertising agencies, suggesting such conflicts can be better understood as inevitable clashes between different regimes for justifying the value of advertising work. The article examines three such regimes that advertising practitioners use to justify the work they do: the regime of partnership, the regime of expertise, and the regime of brokerage. Each regime supposes its own definition of what is good advertising work, how that work is evaluated, and how that work should be done, as well as what relationships there should be between the agents who do the work and their clients. Furthermore, each regime has its critiques of the others, and compromises between regimes are unstable and temporary. The different types of conflicts that arise from clashes between these regimes can be understood as the outcome of threats to the different social bonds supposed by each of those regimes.

These articles are prefaced by a broad discussion of the intellectual projects of economic sociology, in which the literature is divided into two camps: one that studies the economy of culture, and one that studies the economy as culture. After reviewing the different conceptualizations of production and consumption in each, as well as considering the role of materiality and the relationship between the economic and the social, this discussion concludes with a commitment to studying the economy as the enactment of cultural intentions, opting for an analytical strategy that preserves the relative autonomy of culture in exploring how narratives and codes structure economic activity.

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Lee, Who Jeong. "Art direction and scenic design for a production of Sleep Deprivation Chamber." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327946322.

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Mcfall, Elizabeth Rose. "Quaint devices : a genealogical study of advertising practices." Thesis, Open University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343743.

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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.

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Hilliard, James Patrick. "The elements of filmmaking." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.

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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.

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Joy, Ronald Dean. "Kelli and the misfits." CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/344.

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Chiu, Wen-Chi. "Mr. Hassell: The TV Engineer." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935652/.

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This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.

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Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.

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Raley, Gabrielle. "Between art and advertising the production, organization, and culture of commercial art /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023816031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Capretta, Roberto. "The complexity of sound design and operations for television production." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22537.

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The following thesis is an examination of audio engineering for television broadcast production. The extensive sound design, implementation, and production of television programming are to be examined from the perspective of four individual productions of diverse genres. A variety of skills necessary to produce each of the programs are discussed in detail.

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Nooyen, John Melvin. "Development and documentations of supply chain for the production of direct mail." Online version, 2008. http://www.uwstout.edu/lib/thesis/2008/2008nooyenj.pdf.

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au, S. Tampalini@murdoch edu, and Sergio Tampalini. "Affective space (looking back)." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.

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You cant be a rationalist in an irrational world. It isnt rational Joe Orton 1 It may be argued that a historically accepted model of an academic career begins with having completed a PhD and in so doing identifying a body of theory that will inform and constitute ones practical academic work. While it may be an accepted model it does not necessarily take precedence as the only model. The relationship between theory and practice is symbiotic and as such it is possible, and indeed at times desirable, that practice inform theory. It is not advisable to be solely operating from a position of theory when making creative work; the risk is far too great. The gravitational force of theory can all too easily disturb the fragile innocence of creativity. Pulled and constrained by the logic of theory the work risks becoming too didactic and its creativity sacrificed for the sake of rationalisma symptom almost diagnostic of our culture. I appreciate that the term creative is open to a plethora of readings, each with their own cogent claim to usage. When I employ the term I am referring to a particular type of decision-making process involved in the solution of problems. I will argue that a creative decision differs from other types of decisions [such as, practical or scientific] in the way the resultant solution of the problem remains open to a greater number of potential readings. I will also argue that it is precisely in those heuristic moments of potential impasse, often associated with a problems resolution, where creativity hangs out. In any creative venture, I have always been guided by the importance and significance of doing2in the doing is the theory. This is not meant to dismiss theory but simply to see it in much the same way as when we see objects in our peripheral vision. Just as objects in our peripheral vision do not take their place in our visual field3, theory [for me] participates in creative processes by subconsciously serving as an early guiding system that helps monitor the work. In this age of information we are no longer innocent of theory -it is ineluctable. What is crucial is that we have a command of theory in order that we may go through it and regain our creative innocence. If we do not, we only achieve an artificial innocence born of enthusiasm, exuberance and imprecision. Creative innocence is re-found in doing. This assertion conceives of theory as participating as part of a creative subconscious and goes someway towards explaining the sudden epiphany of understanding that is frequently associated with prolonged and intense work, or the immense pleasure at retrospectively recognising the theory that seemed to have informed ones work without being conscious of it -as if the theoretical component had always been there. This phenomenon is of fundamental concern to my thesis, especially when considering the theatre productions that constitute my creative oeuvre. Upon close inspection, my works ultimately reveal that the defining distance between a visceral creative decision [one whose manifestation is immediately felt as apposite] and one that is conceptualised as the illustration of a theory, is not that greatI just happen to begin working outside of the brackets of theoretical narration. Throughout my thesis I will refer to all visuals as images but I will argue that there are specific types of images, namely signs, symbols and metaphors. In language the term image can imply more than a verbal description of a purely visual experience; it can also mean the metaphoric, ornamental, rhetorical figurative use of language as opposed to its literal use. 4 For the surrealists image meant more than the representation5 of an external thing in the material world, it also meant the revelation of an internal mental state, a psychological verity occluded from consciousness. Images [of this kind] were incandescent flashes linking two elements belonging to categories that are so far removed from each other that reason would fail to connect them and that require a momentary suspension of the critical attitude in order for them to be brought together. 6 Having already built a body of practical work [spanning thirty years] the challenge was to see if it was possible to identify a coherent theory that consistently functioned as the catalyst of the work - albeit disparate in its nature. The analytical process proved to be the reverse of that which may be observed in the historically accepted model of academic discoursewhere the process is cumulative. In this instance the process was deductive -a forensic assignment akin to tracing the diverse creative elements to their creative source or motivation. The venture proved illuminating in much the same way as when one is asked to crystallise a complex theoretical argument; you have to reinvent the argument in a way that helps to simplify its complexity without attenuating its integrity -a complexity that is well known to you but that eludes the uninitiated reader. Whenever I try and think about my theatre practice I am vexed -particularly when I filter my own experiences and try and extract the meanings that seem genuinely inherent in them. At first glance it is satisfying because of a sense of coherence or pattern in a whole host of discrete events. However a closer inspection quickly reveals the fractal complexity of the pattern and demands a reappraisal of how we see and decipher it. Any attempt to understand its disparate nature by investigating one part in isolation from the whole proves initially unsatisfying and finally futile, for each part seems to be informed by and refer to other parts, as if participating in a greater organising principle; a principle that resists traditional cartography; one that is best seen as one sees the earth from outer space.7 When the earth is seen from outer space one becomes aware of the greater organising principle [the universe] within which it functions. Similarly it is only when the topology of my work is seen from a distance that its coherence is apparentthe further away one is, the more clearly one recognises its constituent parts. Despite our desire to lose ourselves in the living depths of a work, we are constrained to distance ourselves from it in order to speak of it. Why, then not deliberately establish a distance that will reveal to us, in a panoramic perspective, the surroundings with which the work is organically linked? 8 When I am in the middle of a theatre production, I have only the slightest idea of how it will end; I trust in the doing, and at the end I am always surprised by what I have created. Ambiguity and paradox and consequently indeterminacy ultimately emerge as the common features of my work; they appear as sign posts that mark a way of finally mapping it. Each individual piece of work remains coherently intact despite its seemingly obscure coalescence with others, but it is when the works intersect at these points of commonality that one may observe the greater organising matrix. The phenomenological world is not a pure being, but the sense which is revealed where the paths of my various experiences intersect, and also where my own and other peoples intersect and engage each other like gears. 9 If the most unrelated things share a place, time, or odd similarity, there develop wonderful unities and peculiar relationships and one thing reminds us of everything. Novalis 10

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Johnson, Michael Joseph. "IS IT BETTER TO BUY OR RENT A SET: A TECHNICAL DIRECTION FOR THE SIU'S PRODUCTION OF RENT." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1116.

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This thesis document is a revisiting of the technical direction of Southern Illinois University's production of RENT. In it, in Chapter One, you will see background on the production itself with a table illustrating a breakdown of scenes from the script and technical challenges for each. Following this, Chapter Two begins discussion of the process I, as the technical director, went through, including preparation, the build itself, and the strike process. The final chapter of this document is a self-reflecting section where the issues I encountered during the process are addressed, and ways I can improve as a technical director are indicated.

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Proust, Sophie. "La direction d'acteurs : dans la mise en scène théâtrale contemporaine." Paris 8, 2002. http://www.theses.fr/2002PA082154.

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Principalement basée sur une expérience de stagiaire et d'assistante à la mise en scène de Denis Marleau, Matthias Langhoff, Yves Beaunesne et Robert Wilson de 1997 à 1999, cette recherche définit en quatre parties le travail du metteur en scène avec les acteurs en relation avec un objet de création lors de la période des répétitions pour créer un spectacle. Elle répertorie les prémisses à toute direction d'acteurs dans un processus de création, place le travail du metteur en scène avec les interprètes au-delà d'une simple relation binaire, développe les manifestations du langage spécifique du directeur d'acteurs et les fonctionnements de la direction d'acteurs. Les annexes contiennent notamment des entretiens réalisés avec Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, et des notes de répétitions
Based on my experience as an intern and assistant director for Denis Marleau, Matthias Langhoff, Yves Beaunesne and Robert Wilson between 1997 and 1999, this research defines, in four parts, the director's work with actors during rehearsals for the creation of a production. It indexes the premises necessary to the direction of actors in a creative process, places the director's work with the performers beyond a simple binary relationship, and develops the manifestations of language specific to the director of actors and the functioning of the direction of actors. The appendixes contain, in particular, interviews with Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, as well as rehearsal notes

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Beaufort, Philippe. "Le projet de l'action créatrice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25380.pdf.

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Hatton, William 1972. "Disturbing the Peace." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279223/.

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Disturbing the Peace is a short, 16mm sync-sound fiction film. Alone one stormy night, a woman must contend with an intruder breaking into her home. The intruder turns out to be a teenage boy. He claims to have broken in only to retrieve a family heirloom he hid there when he and his parents lived in the same house years ago. When the boy finds the heirloom, the woman begins to believe his story, and soon realizes he doesn't have a good home life. The boy asks permission to stay until the storm breaks. She agrees. Should the boy be trusted, or is he telling one lie after another? The police arrive to witness the outcome of the story.

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Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.

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Mitra, Sukanya. "A study of the impact music videos have had on production techniques in relation to network television programs and commercials." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1986. http://www.kutztown.edu/library/services/remote_access.asp.

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McMonagle, Susannah Kimberly. "Advertising Producers' Localization of Global Brands: Glocalization, Storytelling, and Audience Construction." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/414827.

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Media & Communication
Ph.D.
The purpose of this dissertation is to 1) critically explore how contemporary advertisers are operating within a glocal framework to diffuse product information and branding to diverse, distant consumers; and 2) to assess the implications of these processes for consumer-audiences. This project explores what approaches global advertising producers utilize to distribute product information and branding to local audiences, how these processes then impact and shape the creation and diffusion advertising campaigns, and lastly, how do those processes impact the way advertisers imagine and target their audiences. The findings of this study shed light on how advertising producers imagine their work, their role within that work, and the audiences who consume their products. This project uncovers how the processes of global information diffusion impact partnerships between “headquarters” and local offices, the way in which messages are adapted and localized for various audiences, how these messages are extolled around the world, and conversely, what messages, stories, or cultural values might be minimized or lost as a result of this current environment. This project draws upon in-depth interviews with advertising professionals and other global stakeholders, as well as on industry trade reports, press articles, and academic research. Interviews were conducted with global stakeholders at Airbnb, Campbell Soup, and Under Armour. In addition to conducting in-depth interviews as a methodological approach, this dissertation engages with a case study logic as a way of understanding the context within which global advertisers localize global brands. Furthermore, employing a multiple-case study approach allowed me to compare and contrast processes and implications between and amongst this trio of brands and various global producers, balancing the intricacies of a single organization with larger themes and trends in industrial production. Themes related to the glocal framework emerged that spoke to the complex processes that global producers must navigate in order to do work on a global scale. These themes, the Global Mindset, which considers how producers conceptualize their role and their work; the Global Story, which explores how producers tell global stories to their consumers (and to themselves); and the Global Consumer, which illuminates the undercarriage of the delicate relationship between producers and consumers; have significant implications because understanding global production processes helps to explain under what context campaigns were conceptualized, how decisions were made, and why certain campaigns are more culturally relevant to local audiences. Beyond this, these findings shed light on the nuances of global brand diffusion pointing to larger trends in glocal advertising, and more broadly, the future of advertising on a global scale.
Temple University--Theses

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Rosewell, Susan Tilden. "Examination of Narrative Point of View Through Production by Two Media." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500621/.

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Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

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Wells, Diane. "Modelling problems of independent sector media : an analysis of market-production relationships with reference to independent film and video in Canada." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63882.

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Amato, William J. III. "The Technical Direction of the 2009 Kent State University School of Theatre and Dance Production of Twelfth Night." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241188098.

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Morais, Valdenir Máximo de. "Propaganda radiofônica: estudo do processo de realização." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-26092011-121743/.

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A compreensão dos fatores determinantes do processo de realização da propaganda radiofônica amplia o campo de experimentação e da interpretação, tanto para o produtor das mensagens publicitárias em seus diferentes formatos e estilos, quanto para o público ouvinte, e os leva a um conjunto de critérios mais sofisticados de avaliação, capazes de unir mais estreitamente a produção e o significado. A escolha do Rádio como veículo publicitário, a geração de ideias no trabalho de criação, a produção do áudio e os cuidados com a voz, a palavra e a performance, a composição musical, o emprego de elementos de sonoplastia, a perícia técnica e a concepção estética da peça produzida, tendo como guia orientador a recepção do público pretendido, são os principais fatores que, revestidos de criatividade e adequação, contribuem para a efetivação da comunicação publicitária via Rádio. O trabalho aborda o universo da comunicação publicitária radiofônica, dando destaque para o spot, o jingle, a paródia, a trilha musical e a vinheta de assinatura como os principais formatos na transmissão das mensagens publicitárias dos anunciantes.
The understanding of determinants factors in the process of realization of radio advertising expands the experimentation and interpretation space, as much for the publicity messages producer as to the listener public, and lead to a more sophisticated set of criteria for evaluation, capable of creating a closer unit between production and meaning. The choice of radio as advertising medium, the generation of ideas in the creation process, the audio production and voice care, speech and voice performance, musical composition, the use of sound design elements, technical expertise and the aesthetic of the produced piece, guided by the target audience reception, carried out with creativity and fitness to the medium, are the main factors that contribute to the effectiveness of advertising communication via radio. The work addresses the universe of radio advertising communication, highlighting the spot, jingle, parody, musical sound track and vignette signature as the main formats for the transmission of advertising messages from advertisers.

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Maitland, Nicholas James. "Spinning Media: Understanding how snowboarding video producers incorporate advertising into subcultural media." Thesis, University of Canterbury. Media and Communications, 2015. http://hdl.handle.net/10092/11053.

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Snowboard media producers attempt to create subculturally relevant videos that connect with the audience. Videos provide the opportunity to report and document snowboarding activity, highlight new developments and provide visibility to prominent participants and associated businesses. Being a well-known and esteemed snowboarding participant is advantageous to being a producer, as it provides an identifiable cultural capital and implies a trustworthy ‘by-riders-for-riders’ philosophy. Connecting with the viewers is vital, as the audience plays a role in the distribution of videos by sharing and endorsing them through their social networks. Motivating factors in audience media sharing, also known as media spreading, include status seeking, improving credibility, personal satisfaction and personal expression. Snowboarding was founded on anti-mainstream and anti-commercialism beliefs, which means that incorporating advertising and promotional messaging could negatively impact on audience connection. Yet, filming and producing snowboarding videos is difficult and expensive. Advertising represents an opportunity to attract funding and support to assist with production costs and, ultimately, provide profit. In order to accommodate advertising into their videos, producers are sometimes required to compromise their standards. This compromise represents a threat to audience connection. Producers believe that high quality, innovative snowboarding action footage provides the best opportunity to wow the audience. Various forms of advertising, including stealth marketing, sponsored journalism, and hybrid messaging, are often displayed in the moments between action footage shots, but advertising compromise can also affect action footage, particularly on client-funded projects. How advertising is incorporated can also depend on the industry the advertiser operates in. Alcohol brand advertising is identified as highly restrictive due to legal implications and public perceptions. Advertisers from businesses strongly related to the snowboarding subculture are more aware of their competitors’ presence in videos, which can cause conflict. Ski field support can be varied, despite high levels of visibility in the videos.

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Farris, Jennifer. "The Technical Direction Provided for the 2008 Kent State University School of Theatre and Dance Production of Three Sisters." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1236642190.

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Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.

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Chu, Xiaoge. "Retrospection and deliberation : the create [i.e. creative] summary of the high definition video works." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327290.

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This paper reviews the process of video production that was used to create the creative portion of the thesis project. During this process, I experienced creative art theory, creative methods, and new technology applications. For the production of the thesis, I used a high definition digital video camera to illustrate the conflict and fusion between the East and West on the level of cultural mythology. The thesis is comprised of five parts and seven subdivisions:PrefaceStatement of the problemReview of influenceDescription of the artworks, including seven subdivisions:Theme of the projectSelection of creative styleElements of art and cinematographyProject OverviewTransposing the concrete into the abstractExhibit understanding of the language of cinemaCreative application of emerging HDV technologyConclusion and exhibition statement.
Department of Art

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Davis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.

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In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Horton, Willie Charles Jr. "Armed With A Heart." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/1007.

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This paper thoroughly examines the production of the thesis short film, Armed With A Heart, from conception to completion. Each area of the film's production is carefully dissected, including the writing, production design, cinematography, editing, sound, technology, workflow, and direction. Each of these areas contain a myriad of decisions that were made in effort to fulfill the overall vision of the movie as being a character driven, psychological thriller produced with a high production value. The aforementioned decisions are discussed at length. Documented feedback from test audiences is also reviewed in an attempt to objectively critique the final film.

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Diaz, Michael J. "The miseducation of Simon Kraus a record of the film's production." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4672.

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The Miseducation of Simon Kraus is a feature-length film produced, written, directed, and edited by Michael J. Diaz as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The thematic aim of the film is to paint a portrait of the Millennial Generation on the microcosm, by following the story of an apathetic protagonist whose dreams and ambitions are threatened by his own character. The statements, documents, and images contained herein serve to record the experience and motivation behind the film.
ID: 029050565; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2010.
M.F.A.
Masters
Department of Film
Arts and Humanities

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Faulconbridge, James R. "Local-global geographies of tacit knowledge production in London and New York's advertising and law professional service firms." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/13724.

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For economic geographers interest in the role of knowledge in economic activities and a 'knowledge economy' raises questions about how geography enables (and disables) learning and whether the production of tacit knowledge has exclusively local or multiple overlapping geographies. This thesis engages with this debate and considers its relevance to the geographies of tacit knowledge production (learning) in the employees of global advertising and law professional service firms operating in London and New York City. It begins by critically engaging with theories of knowledge, learning and their geographies to develop a spatially sensitive approach to examine learning. Such an analysis is then applied in order to understand the geographies of knowledge production in global advertising and law firms. Three themes are addressed. First, why is tacit knowledge important in the work of these firms? Second, what are the key practices involved in producing such knowledge? Third, what are the geographies of these practices and how important is the local scale (the communities within London and New York) and the global scale (the communities stretched between offices of the global firms studied) for knowledge production. Research findings from semistructured interviews highlight the multiple geographies of learning in the firms studied at both local and global scales. This is enabled by a number of 'embedding' forces that 'smooth' the learning process and that have multiple geographies themselves. It is therefore argued that a relational and topological analysis that traces the learning networks across space most usefully provides insights into the geographies of knowledge production. This reveals that the 'networks and spaces of learning' are fluid and transcend spatial scales when suitable constructed.

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Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.

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Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

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Khaki, Mohammad. "Robust Classification of Head Pose from Low Resolution Images Under Various Lighting Condition." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/37060.

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Companies have long been interested in gauging the customer’s level of interest in their advertisements. By analyzing the gaze direction of individuals viewing a public advertisement, we can infer their level of engagement. Head pose detection allows us to deduce pertinent information about gaze direction. Using video sensors, machine learning methods, and image processing techniques, information pertaining to the head pose of people viewing advertisements can be automatically collected and mined. We propose a method for the coarse classification of head pose from low-resolution images in crowded scenes captured through a single camera and under different lighting conditions. Our method improves on the technique described in [1]; we introduce several modifications to the latter scheme to improve classification accuracy. First, we devise a mechanism that uses a cascade of three binary Support Vector Machines (SVM) classifiers instead of a single multi-class classifier. Second, we employ a bigger dataset for training by combining eight publicly available databases. Third, we use two sets of appearance features, Similarity Distance Map (SDM) and Gabor Wavelet (GW), to train the SVM classifiers. The scheme is tested with cross validation using the dataset and on videos we collected in a lab experiment. We found a significant improvement in the results achieved by the proposed method over existing schemes, especially for video pose classification. The results show that the proposed method is more robust under varying light conditions and facial expressions and in the presences of facial accessories compared to [1].

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Brook, Johnathan. "The Role of Translation in the Production of International Print News. Three Case Studies in the Language Direction Spanish to English." Thesis, University of Auckland, 2012. http://hdl.handle.net/2292/19462.

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Translation has become a key, albeit hidden factor in the success of international news as a marketable commodity and one that is not overtly recognised by journalists. However, despite the important socio-political role played by translation in the global circulation of news, general principles governing processes of translation in its production have received scant attention from both Media and Translation Studies researchers The core to this study is to explore the complex set of processes that occur in the translation of political news, and to discover what exactly happens at various points in regard to who translates, what is translated, where it is translated and by whom it is translated. A further goal is to ascertain the extent to which trained competent translators are involved, as opposed to linguistically competent journalists, or, if that is not the case, whether indeed the former should be involved in processes of news translation. From a translation perspective the study explores the practice of newswriters complying with common journalistic strategies such as simplification and reframing to suit the needs of their readership for the maintenance of dominant political or cultural ideologies. It also examines the extent to which disregard for, and removal from, original context, as well as over- or under-emphasis of particular terms or phrases actually happens in translated news texts in the Spanish-English context, and the effect that this may have at the point of reception by the new readership. By comparing three sub-corpora of journalistic source and target texts through critical discourse analysis, and by taking into account translation processes through ethnographic research in international news outlets, the ultimate goal is to identify the causes that can trigger textual manipulation. Using three case studies comprising political news events that were originally reported in Spanish at the source of the events, and which were subsequently reported in UK and US national newspapers, the study investigates the extent to which transformations occur through translation in the representation of political news events, how they might occur, who is involved in the process and what effect any transformations might have on readers.

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Hillier, Fleur Jane School of Public Health &amp community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences." Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.

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In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.

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Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.

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Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.

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Ho, Chui-fun Selina, and 何翠芬. "Ann Hui as a female filmmaker: in search of Hong Kong culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951636.

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Gumaste, Nitin S. "An experiment in portable escapism : storytelling and the iPod." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345339.

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This study examines the possibility of creating original video-based content for the video-enabled iPod that was released in October 2005. Current trends show that existing content created for conventional media like television, cinema and computers are simply being ported over to this new medium. However, when this project began, none of the production studios are concentrating on creating content specifically for this medium, which has its own unique properties like portability, screen size and the ability to easily start and pause content as required. The purpose of this project is to prove that such medium-specific content can be created and made financially viable for the creators. Further, this hypothesis is put to the test by presenting it to a group of Ball State University students and their responses are examined in detail.
Department of Telecommunications

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Cheurfa, Mustapha. "Gestion des ressources humaines en production cyclique." Phd thesis, Ecole Nationale Supérieure des Mines de Saint-Etienne, 2005. http://tel.archives-ouvertes.fr/tel-00849977.

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Nos travaux de recherche portent sur le problème de prise en compte des contraintes liées aux ressources humaines, en termes d'affectation des opérateurs aux machines, dans les problèmes d'ordonnancement d'atelier. Ce problème intégrant l'affectation des opérateurs aux machines consiste à déterminer 1 'état d'atelier au cours du temps, et à considérer le problème d'ordonnancement d'atelier dans sa globalité en prenant en compte l'influence de l'affectation des ressources humaines sur les activités de production. Ceci impose en plus de la gestion de la séquence des travaux, la gestion des affectations des hommes aux postes de travail. Nous avons considéré le cas où les productivités des machines dépendant de 1 'affectation des opérateurs. Nous avons supposé que le nombre d'opérateurs est inférieur au nombre de machines, un opérateur peut superviser simultanément plusieurs machines et que la supervision simultanée de plusieurs machines par un opérateur diminue les productivités de ces dernières. L'originalité de nos travaux de recherche est liée au fait que les durées opératoires des travaux sont variables dans le temps et sont fonctions de 1 'évolution des affectations des opérateurs aux machines dans le temps. Deux grandes parties composent nos travaux de recherche. La première partie porte sur le problème de modélisation de 1 'affectation des opérateurs aux machines. Elle consiste en la proposition d'un cadre théorique pour 1 'intégration des contraintes liées à la prise en compte des ressources humaines, en terme d'affectation des opérateurs aux machines, dans la modélisation des problèmes d'ordonnancement d'atelier. Une définition d'un problème d'ordonnancement d'atelier impliquant l'aspect" ressources humaines" est alors proposée. La seconde partie a porté sur une application de la modélisation proposée dans la première partie pour le cas d'une production cyclique. Plus précisément, nous avons étudié le problème d'existence d'une affectation des opérateurs réalisant un ordonnancement cyclique pour un atelier_ de type Flow Shop. Nous avons supposé qu'un ordonnancement cyclique, défini par une durée de cycle et un ensemble de travaux à réaliser durant cette durée, est donné pour des productivités nominales des machines et sans aucune prise en compte des ressources humaines. Par conséquent, et dans le cas où le nombre d'opérateurs est inférieur au nombre de machines et que l'affectation des opérateurs conditionnent les productivités des machines, 1 'introduction et la considération des ressources humaines pour la réalisation de l'ordonnancement cyclique pourrait allonger la durée d'exécution des travaux et remettre en cause la durée de cycle. Nous avons étudié ce problème d'existence d'une affectation des opérateurs réalisable pour Flow Shop Cyclique pour trois modes de réaffectations des opérateurs : calendaire, sur évènement de fin de tâche et libre. Nous avons présenté une formulation mathématique du problème pour ces trois modes de réaffectation des opérateurs, démontré que ce problème est NP-complet pour les deux modes calendaires et sur événement, et qu'une restriction du problème de mode de réaffectation libre est NP-complet. Nous avons également proposé, pour ces trois modes, un modèle mathématique linéaire en nombre entier. Une approche de résolution basée sur le principe de la programmation dynamique a été proposée pour les deux modes réaffectation calendaire et sur événement.

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Langlois, Sylvain. "Les opéras de Rossini, Bellini et Donizetti au Théâtre des Arts de Rouen à l'époque romantique : direction de théâtre, répertoire, production et réception." Rouen, 2009. http://www.theses.fr/2009ROUEL014.

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Au second quart du XIXe siècle, le répertoire lyrique du Théâtre des Arts de Rouen connaît une évolution progressive durant vingt années. Jusqu'alors composée essentiellement d'opéras-comiques, la programmation lyrique du Théâtre se diversifie, permettant au public rouennais de découvrir de nouveaux genres : opéras-traductions de Rossini, grands opéras d'Auber, Meyerbeer, Halévy, etc. Au début de l'année 1839, la direction du théâtre propose deux traductions d'opéras italiens : Anne de Boulen de Donizetti et La Somnambule de Bellini. Ces deux créations demeurent le point de départ d'un certain engouement de la part du Théâtre pour ces deux compositeurs. Durant six années, les directions successives programment plusieurs opéras de Donizetti, Bellini et Rossini. Les représentations du "répertoire lyrique italien" augmentent considérablement et occupent plus d'un tiers du répertoire global durant l'année 1843-1844. Cette "italophonie" soudaine résulte de l'heureuse rencontre de différents protagonistes : directeurs, chef d'orchestre, chanteurs, décorateur, etc. La diffusion de l'opéra romantique italien permet le développement des moyens de productions du Théâtre dans le but de répondre aux exigences de ce nouveau genre. Plusieurs opéras de Donizetti intègrent pleinement le répertoire lyrique du Théâtre et se classent parmi les oeuvres les plus représentées durant tout le XIXe siècle. Une chronologie évènementielle entre 1839 et 1844, réalisée à partir du dépouillement de périodiques rouennais, permet d'évaluer l'importance de l'arrivée de ce "répertoire italien" sur une scène provinciale, tout en déterminant sa part d'italianité
During the second quarter of the nineteenth century, the lyric repertoire of the Théâtre des Arts of Rouen had known a progressive evolution. Previously composed of light operas, the lyric programming of the theatre was diversified thus allowing the opera-going public of Rouen to discover news genres : operas-traductions (translations) by Rossini, grands-operas by Auber, Meyerbeer, Halevy etc. . . Early in 1839, the direction of the theatre proposed two translations of Italian operas : Anne de Boulen by Donizetti and La Somnambule by Bellini. These two creations were the starting point of certain craze on behalf of the Theatre for these two composers. During six years, the successive directions scheduled several operas by Donizetti, Bellini, Rossini. "Italian Lyric repertoire" performances increased considerably and represented more than a third of the global repertoire during years 1843-1844. This sudden "italophony" resulted from the meeting between various protagonists such as directors, conductors, singers, stage designers, etc. The success of Italian romantic opera allowed the development of the means of production of the Theatre in order to meet the requirements of this new genre. Several operas by Donizetti fully integrated the lyric repertory of the theatre and ranked among the most performed plays throughout the nineteenth century. A chronology of events between 1869 and 1844 made from the examination of Rouen Periodicals allowed to assess the importance of the arrival of this "Italian repertoire" on a provincial stage, while determining its share of Italianity

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Vorlická, Adéla. "Zvýšení efektivity pracoviště pro výrobu obalů." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2009. http://www.nusl.cz/ntk/nusl-222236.

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This diploma thesis deals with a proposal to increase the efficiency of package production in SERVISBAL OBALY s.r.o. company. The aim of the solution is to suggest methods for the production capacity improvement on the RODA Super-Combi 130 electronic unit and to inform about other production improving techniques.

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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.

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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.

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Flores-Muñoz, Roberto-Andrés. "Dirección del cortometraje de ficción La última función." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/5110.

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Figueiredo, Renato Lacastagneratte de. "A significação da propaganda. As diversas superfícies comunicativas do discurso publicitário e seu processo de percepção e produção de sentido." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-08032013-091554/.

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Como pode funcionar uma linguagem tão problemática quanto a da publicidade? Foi baseada nesta curiosidade que nasceu esta pesquisa. A partir da percepção da presença do que chamou \"caracteres negativos do Discurso Publicitário\", engendrou-se uma investigação acerca das possibilidades de sentido desta Forma Discursiva. Constatou-se aí a presença de uma série de aspectos crítico-negativos, identificados como (1) A Dissonância de Voz; (2) o Caráter Hiperbólico do Discurso; (3) o Engajamento Improvável na Mensagem Publicitária; (4) As Palavras Fantasmas; (5) o Lastro Duvidoso e as Afirmações Capciosas; (6) a Incoerência, ou Esquizofrenia; (7) a Não Negatividade; e, por fim, (8), o Desvio da Materialidade. Todos estes caracteres teriam a potencialidade de funcionar como protuberâncias de sentido perceptíveis no Discurso Publicitário (DP), sendo capazes de desviar a leitura da mensagem para outras superfícies comunicativas. Este desvio teria funcionamento semelhante ao que poderia se chamar \"pacto fiduciário de leitura da propaganda\", ou o fato de o captador desta mensagem saber \"lê-la\" em níveis paralelos aos da mensagem exposta, como, por exemplo, o da \"imagética\" e do imaginário. A partir da identificação de três superfícies e seus nove subníveis, esta pesquisa procurou organizar a dinâmica comunicativa do DP, a qual chamou de Processo de Percepção e Produção do Sentido (PPS). Sugere que o captador da mensagem (termo alternativo a \"receptor\") tenha papel ativo não só na construção, mas na percepção de sentidos \"além? e \"aquém? do que é exposto, sendo capaz de identificar importantes signos no que se chamou a Forma da mensagem inserida num Contexto. São conceituadas aí, portanto, as Superfícies Expressiva, Formal e Contextual da publicidade, ao redor das quais se organizará todo o trabalho. O referencial adotado para construção destas teorias mescla algumas das principais correntes de análise da comunicação: a Teoria da Enunciação; a Análise do Discurso; a Semiótica Peirceana; a Semiótica \"Francesa\"; a Psicologia Social; e as Teorias Cognitivas. Foram selecionadas 154 (cento e cinqüenta e quatro) peças publicitárias para análise, divididas num corpus exploratório e outro confirmatório, este último voltado a validar as primeiras descobertas. Ao final, analisaram-se mais 10 (dez) peças publicitárias nas quais se investigou a interação de sentido entre as nove superfícies. Conclui-se que os caracteres negativos anteriormente identificados podem ser capazes de desviar a expressividade da mensagem para outras superfícies, dando origem ao que se chamou Efeito Secundário na Comunicação Publicitária, ou seja, o fato de surgirem novas \"protuberâncias\" de sentido (principalmente críticas), que são percebidas de forma consciente (durante processamento cognitivo controlado da mensagem) ou não (processamento automático da mensagem). Este desvio tornaria a mensagem publicitária menos \"expressiva\" e mais dependente da \"imagética\", do imaginário e de seus caracteres ontológicos, o que, por sua vez, poderia comprometer a ação de seu discurso a longo prazo. Defende-se, assim, o argumento de que a propaganda é um discurso \"presentificista\", voltado unicamente ao tempo presente, ideia que encontrou eco em algumas correntes de pensamento crítico acerca da comunicação, como as de Dominique Quessada e Lucien Sfez.
How can such a problematic Discourse like advertising work? This research was born based on this question. Perceiving the presence of what it called the -negative Advertising Discourse characters?, it engendered an investigation about the signification possibilities of this Discursive Form. A series of critics and negative aspects were then identified, such as: the (1) -Advertising Voice Dissonance?; (2) the -Hyperbolic Discourse?; the (3) -Non Probable Engagement?; (4) -The Phantom Words?; (5) The Doubtful Ballast and Misleading Statements?; (6) -The Discourse Incoherence or Schizophrenia?; (7) the -One Sidedness? Message; (8) the -Materiality Deviation?. All of these characters would have the probability of working as perceptible -protuberances? of meaning, being capable of turning the message semeiosis to other communicative surfaces. This deviation would have a similar action to what could be called the -advertising fiduciary reading pact?, or the fact that the -catcher? of this message knows how to read it in levels which are parallels to the exposed message, such as, the -imagetic? or -socio-discursive imaginary? ones. From the identification of three Surfaces and its nine sublevels, this research intended to organize the communicative dynamics of the Advertising Discourse (AD), named Significance Perception and Production Process. It suggests that the message -catcher? (alternative term to -message receiver?), would have an active role not only in constructing, but perceiving the meanings which are also beyond or beneath the exposed message, for he is capable of identifying important signs in what was called the -message Format in a Context?. The Advertising Contextual, Formal and Expressive Surfaces are then conceptualized, being all the work organized around them. The theoretical frame adopted for these conceptualizations merges some of the main communication analysis streams: The Enunciation Theory; the Discourse Analysis; the Charles Sanders Peirce\'s Semiotics; the French Semiotics; the Social Psychology; and the Cognitive Theories. One hundred and fifty-four (154) advertising messages were selected to be analyzed, integrating an exploratory corpus and a confirmatory one (the latter aimed to validate the findings from the further research). In the last chapter, more ten ads were analyzed, in which the significance interaction between the nine indentified surfaces were investigated. It was possible to conclude that the negative characters lately identified were able to deviate the message expressivity to other surfaces that not the primary or central one, originating what was called the -Secondary Effect in Advertising Communication?, or the fact that new significance protuberances (mainly the critic ones) could be perceived in a high evolvement cognitive scenario or a low evolvement one. This deviation could make the advertising claims less expressive, relying its communicative effectiveness in the -imagetics?, the -imaginary? and what was called its -ontological? characters, which, in turn, could compromise the efficiency of this discourse in the long run. Therefore, the research could defend the argument of Advertising as a -Presentificist Discourse?, or being directed solely to the present time: an idea that encountered echo in some critical works in communication, such as Dominique Quessada\'s and Lucien Sfez\'.

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Greer, Daniel. "Snakes Alive!" Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9101/.

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On three days in March each year, the sleepy little town of Sweetwater, Texas transforms into the rattlesnake capital of the world. Snake hunters and curious tourists converge on the town of 12,000 for the Annual Sweetwater Rattlesnake Roundup. On the outside of the Nolan County Coliseum, the smell of funnel cakes and hot-dogs fills the air as vendors sell snacks and souvenirs. However the real action is inside where snakes collected from all over the state lay in piles by the thousands, waiting to be sexed, milked and ultimately killed. Through interviews and observational footage, "Snakes Alive!" explores the Sweetwater Rattlesnake Roundup, those that participate in the event, and the elements that make it an unabashed West Texas tradition.

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Fuelling, Christopher J. "The Ariadne project : a companion paper to the creative thesis 698 composition and performance of the opera/installation, Ariadne." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845926.

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The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process.
Department of Art

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Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.

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Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.

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Goodman, David. "Texas Paranormalists." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822843/.

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Abstract:

Texas Pararnormalists mixes participatory and observational styles in an effort to portray a small community of paranormal practitioners who live and work in and around North Texas. These practitioners include psychics, ghost investigators, and other enthusiasts and seekers of the spirit world. Through the documentation of their combined perspectives, Texas Paranormalists renders a portrait of a community of outsiders with a shared belief system and an unshakeable passion for reaching out into the unknown.

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Dissertations / Theses on the topic 'Advertising – Production and direction'

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