Dissertations / Theses on the topic 'Barbara (Motion picture) – Criticism and interpretation'
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Lee, Cheuk-chi, and 李卓智. "To live and forget: the limits of comprehension and remembrance in the feature films of Hirokazu Kore-eda." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B47753018.
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Comparative Literature
Master
Master of Philosophy
Van, Lill Hilda. "Exploring issues of identity and belonging in the films of Mira Nair : Salaam Bombay!, Mississippi Masala and Monsoon Wedding." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4316.
Full textENGLISH ABSTRACT: The aim of this thesis is to study the themes of identity and belonging in the films of Mira Nair. Three films form the basis of this study namely Salaam Bombay!, Mississippi Masala and Monsoon Wedding. The approach is thematic, i.e using the film to explore different socio-political themes of identity rather than looking at the methodology she uses as a filmmaker. The analysis of each of the three films looks at a particular form of identity namely national, cultural or personal identity, and makes reference to Nair’s own comments on the films as well as academic articles on the films, her work and issues such as identity, nostalgia, home, belonging, marginalization, immigrants, street children and the like, in order to interrogate Nair’s exploration of the particular ideas within these films. It examines the films as if it were a work of literature, and looks at how it deals with these issues within a filmic context. What symbols does she use to show us we are dealing with cultural identity? Which character is symbolic of the modernist movement? Finally it examines the potential effect of these films on the society from which they derive, and comes to some conclusions about the effect these films may have in challenging, shaping and/or influencing ideas about nostalgia, home, identity, and so on. The discussions of the films show that she has been superbly able to exploit all the advantages of her chosen medium to bring her remarkable visual inventiveness and artistry into play in order to communicate this to an international audience and to make them think about the issues at hand. The filmmaker is finally established not only as simply a creator of film, but ultimately as a thinker and poet.
AFRIKAANSE OPSOMMING: Die doel van hierdie tesis is om die temas van identiteit en ‘n gevoel van behoort in die films van Mira Nair te bestudeer. Drie films vorm die basis van die studie naamlik Salaam Bombay!, Mississippi Masala en Monsoon Wedding. Die aanslag is tematies van aard, m.a.w. dit gebruik die films om die verskillende sosio-ekonomise temas van identiteit te identifiseer en ontleed, eerder as om die metodologie van haar as filmmaker te bestudeer. Die analise van elke van die drie films kyk na ‘n spesifieke vorm van identiteit, naamlik nasionale, kulturele of persoonlike identiteit en maak verwysing na kommentaar deur Nair haarself, sowel as akademiese artikels oor die films, haar werk en kwessies van identiteit, nostalgie, die konsep van ‘n tuiste, ‘n gevoel van behoort, marginalisasie, immigrante, straat kinders en dies meer. Die doel is om sodoende Nair se idees oor identiteit binne hierdie films te bevraagteken en ontleed. Die tesis ondersoek die films asof dit ‘n literere werk is, en neem in ag die maniere waarop dit na hierdie kwessies kyk binne ‘n filmiese konteks. Daar word byvoorbeeld gekyk na watter simbole sy gebruik wanneer sy verwys na kulturele identiteit. Watter karakter is die simbool vir die modernistiese beweging, ens. Uitendelik bevraagteken die tesis the potensiële effek van hierdie films op die omgewing en omstandighede waaruit dit ontstaan het, en kom tot sekere gevolgtrekkings met betrekking tot die mate waarin hierdie films kwessies van tuiste, nostalgie, identiteit ens beinvloed en/of vorm en bevraagteken. Die besprekings dui daarop dat sy baie bevoeg is om al die voordele van haar verkose medium tesame met haar indrukwekkende visuele verbeelding te gebruik om aan ‘n internasionale gehoor die kwessies te kommunikeer en hul te dwing om aktief te dink oor die kwessies aan hand. Uiteindelik word die filmmaker Nair nie slegs as ‘n skepper van film beskryf nie, maar ook as ‘n denker en digter.
Yeung, Chun. "The colour spectrum : radical (mis)representation as identity construction in HK cinema from 1970s to the present." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1180.
Full textIp, Wing Cheung. "Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.
Full textBenoit, James. "Working through the ambiguities of focalization with the films of Edward Yang." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98539.
Full textMacCormack, Patricia (Patricia Anne) 1973. "Pleasure, perversion and death : three lines of flight for the viewing body." Monash University, Centre for Women's Studies and Gender Research, 2000. http://arrow.monash.edu.au/hdl/1959.1/7835.
Full textMcCann, Elisabeth L. S. "A rhetorical analysis of Elizabeth Barret's Stranger with a camera." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1246473.
Full textDepartment of Communication Studies
Soares, Duana Castro 1987. "O filme O Fabuloso Destino de Amélie Poulain, sua trilha musical e sua referência em filmes publicitários." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284521.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T23:03:48Z (GMT). No. of bitstreams: 2 Soares_DuanaCastro_M.pdf: 1937236 bytes, checksum: d9bcaaf1e0d76b3aab8e34e6555b8ad3 (MD5) Soares_DuanaCastro_Anexo.zip: 517300767 bytes, checksum: a482d7b8f810ba62bd225faeee0fb43c (MD5) Previous issue date: 2013
Resumo: Esta pesquisa tem por objetivo analisar o filme O Fabuloso Destino de Amélie Poulain, sua trilha musical e apontar suas referências estéticas em filmes publicitários, a partir de materiais existentes em DVD, Internet, livros, CD das músicas e partituras. A música do filme é analisada por meio da interpretação dos momentos em que está presente na ação dramática. Os filmes publicitários são divididos em dois grupos: os que apresentam alguma referência estética e os que apresentam referência na trilha musical. A pesquisa é qualitativa, por meio da análise e da interpretação das músicas presentes no filme examinado
Abstract: This research aims to analyze the film Amélie, its soundtrack and its references in advertising films, from existing materials on DVD, Internet, books, CD of soundtrack and scores. Music of the film is analyzed by interpreting the moments that was present in the dramatic action. The commercials are divided into two groups: those who have some aesthetic reference and those who have reference in soundtrack. The research is qualitative, through analysis and interpretation of the songs in the film Amelie. It's a descriptive research
Mestrado
Multimeios
Mestra em Multimeios
Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.
Full textEvans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
Full text廖志強. "<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration." HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.
Full textBain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Langenfeld, Elizabeth Irene. "Hitchcock's "Rebecca": A rhetorical study of female stereotyping." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1718.
Full textGustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
Full textBaldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
Full textWright, Barbara Irene. "La bête humaine : an examination of the problems inherent in the process of adaptation from novel to film." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26943.
Full textArts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
Peeler, Scott Edward. "The dynamics of proximity : Hitchcock's cinema of claustrophobia." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.
Full textHart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Full textThe nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
"Displaced empathy: narrative technique, style and suspense in Alfred Hitchcock's Psycho." Thesis, 2015. http://hdl.handle.net/10539/16890.
Full textEhrlich, Linda C. "The artist's desire : eight films of Mizoguchi Kenji." Thesis, 1989. http://hdl.handle.net/10125/9575.
Full textElsdon, Kerry-Jane. "David Lynch as a postmodern filmaker." Thesis, 1992. http://hdl.handle.net/10539/22709.
Full textIt is the intention of this thesis to provide a reasoned analysis of the films of David Lynch, in order to locate Lynch as a Postmodern filmmaker. Although other filmmakers have been seen to include elements of Postmodernism in their work (Tim Burton is an example), few directors have attained Lynch's recent prominence or popularity. His recent television series, Twin Peaks, has created an even larger audience for his filmic style, and the guest directors employed were obviously encouraged to employ a similar technique, in order to create a coherent filmic philosophy. [Abbreviated Abstract. Open document to view full version]
MT2017
Willet, Eugene Kenneth 1969. "Music as sinthome: joy riding with Lacan, Lynch, and Beethoven beyond postmodernism." Thesis, 2007. http://hdl.handle.net/2152/3231.
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Phillips, Amy Louise. "Time, history and memory in the cinema of Pedro Almod{u00F3}var." Master's thesis, 2010. http://hdl.handle.net/1885/150488.
Full textHemmings, Jonathan Michael. "Dead reckoning : an analysis of George Romero's 'Living dead' series in relation to contemporary theories of film genre and representations of race, class, culture and violence." Thesis, 2008. http://hdl.handle.net/10413/302.
Full textThesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008
Heine, Erik James. "The film music of Dmitri Shostakovich in The gadfly, Hamlet, and King Lear." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1762/heinee14212.pdf.
Full textAyob, Asma. "Beyond appearances : transnationalism and representation of women in Bollywood cinema." Thesis, 2014. http://hdl.handle.net/10500/18481.
Full textAfrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)