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Dissertations / Theses on the topic 'Cinema and politics'
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Kirkland, Ewan. "The politics of children's cinema." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400877.
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Miller, Jamie. "The politics of Soviet cinema, 1929-1941." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438341.
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Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.
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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.https://dc.etsu.edu/etsu_books/1211/thumbnail.jpg
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Ghosh, Sanjukta T. "Celluloid nationalism : cultural politics in popular Indian cinema /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759914758891.
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Cheney, Zachary. "Stylish Politics: Long Takes in Post-1945 Cinema." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22758.
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This dissertation is a politically conscious, comparative-historical formal analysis of long takes at the intersection of art and mass-market cinemas in the post-WWII era. Given the contemporary fascination with long takes in the critical discourse of film along with its fairly rampant employment in contemporary mainstream cinema, the discipline has lacked scholarship carefully examining formal techniques as such while remaining alert to the non-reductive possibilities for their political significance. Enlisting and building on the analytical approach of a cinematic poetics, the project outlines numerous contingencies in the practice of very long takes and their function in producing meaning before attending to the technique at the levels of cinematography, editing, and mise-en-scène in separate chapters. Objects of analysis are roughly divided in each chapter between progenitors of contemporary long-take practice—Italian neorealist films, Rope (1948), the 1960s and 1980s films of Jean-Luc Godard, and Jeanne Dielman (1975)—and more recent examples—Timecode (2000), Children of Men (2006), Birdman (2014), A Girl Walks Home Alone At Night (2014), and Too Late (2015).
The dissertation invests in the inseparability of form and content, as well as the political stakes of long take practice at both levels by parsing out the historical, technological, cultural, and diegetic contexts of long takes. In so doing, the approach exemplifies previously unrecognized possibilities for employing a historical poetics in a manner acknowledging a formal technique’s commitments to and participation in social power dynamics. These dynamics are legible within a film, in its production, and in its participation in the historical tradition of authorship as constructed in European art cinema.
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Richardson, Niall. "Queer politics and poetics : the cinema of Derek Jarman." Thesis, University of Ulster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414982.
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Elder, Keir. "James Barke : politics, cinema and writing Scottish urban modernity." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/0e2e9d04-334e-445a-b1b1-9fa7cbca5fa5.
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This thesis examines the early works of the Scottish novelist, playwright, would-be screenwriter, commentator and political agitator, James Barke, to argue that he was a more significant figure on the Scottish literary scene than his place in the canon would suggest. The purpose in so doing is to suggest that his writing was symptomatic of a modernisation in Scottish society and letters during the 1930s. In prosecuting this endeavour, the research considers four aspects of the author's early output: the political dimension; his aesthetic sensibilities; the impact and representation of the city; and finally the part played by the experience and influence of the cinema. Equally, it is argued that these novels are emblematic of both the author's own migration from country to city and the longer-term transformation of Scotland's demography from largely rural-dwelling to largely urban-dwelling. The theoretical method engages with a Marxist critique and anchors Barke's early novels to his constantly evolving political commitment which tracks, but does not entirely subscribe to, the development of a broad range of Leftist ideologies of the era. The jump-off point and principal underpinning of the research is an appreciation of James Barke's Major Operation (1936) as a Scottish novel of significance for its literary innovation, approach to, and rendering of, Scottish urban modernity. In the thoroughgoing 2002 analysis of the field in Scottish Literature edited by Douglas Gifford, Major Operation is identified as one of the Scottish novels 'extending its perspective of ironic social realism to the city' and a novel that 'had no time for non-political and non-economic considerations.' This thesis contends that this is to diminish the scope of Major Operation's engagement with innovative forms and considerations of the dichotomies that comprise the modern city. I argue that, inspired by the stylistic achievements of James Joyce, in many respects Ulysses and Major Operation are contiguous, each author concerned with a ‘peripheral’ city in an Empire, each coloured by its national tradition, residual parochial features, idiolect and political situation. In a bold literary form, Barke's novel celebrates and critiques Glasgow in a manner unsurpassed in Scottish letters, his approach to modern urban Scotland in his early novels being a uniquely informed and cosmopolitan one.
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Khouri, Malek. "Ideology and critical politics in the discourse on Canadian cinema." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26924.pdf.
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Khouri, Malek Carleton University Dissertation Canadian Studies. "Ideology and critical politics in the discourse on Canadian cinema." Ottawa, 1997.
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Marteau, Aurélie. "Cinema and Politics since 9/11: the Democratic Pardox of Media." Thesis, Linköping University, Department of Management and Economics, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6309.
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The question of whether cinema is democratic is a vast one, which requires research limitations of time and place to actually find an answer for. In this study, the place will be the United States, because nowhere else is the industry of cinema so powerful and generates more elements of popular culture; where also the country is considered to be democratic and practicing freedom of speech. The time will be the period following 11th September 2001: a date after which American politics has been chaotic both inside and outside the country, consequently producing a very controversial subject matter to debate in films.
However, the question still remains huge as the answer might differentiate according to the varying scope different types of cinema productions may hold. Accordingly, we will limit our focus within the field of political alternative films; and apply and seek to verify Jürgen Habermas’ theory of the public sphere in analysing their content to reach inferences on democracy. Afterwards, enlarging our perspective to the American cinema industry by and large, we will argue that the economic value of a film and the subject it deals with undermine the democratic ideals of equal representation the public sphere carries, as capitalism enters the scene. Some other dilemmas will emerge on this path: are movies being imposed by a dominant class in order to make the audience passive towards their environment? Or is it the audience, the people themselves, who create the aspects of popular culture in cinema?
Finally, we are to put the first question in other terms: does cinema socially and democratically represent its viewers’ ideology? In the limit of our empirical means, giving responses to those questions will be the heart of this thesis.
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Jha, Meeta Rani. "The emotional politics of Bombay cinema and the British Asian imaginary." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432009.
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Yu, Hongmei. "The politics of images : Chinese cinema in the context of globalization /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8304.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 306-318). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Touzzelti, Rim. "The Politics of Iranian and Palestinian Cinema: Expressing Dissent Through Creativity." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39262.
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The aim of this thesis is to challenge the common assumption that politics alone, as conventionally understood, are what governs societies. To put it differently, the goal is to argue that the cultural arena can also be political. The idea here is to look at how under certain political contexts, cinema becomes political, so obviously so that there is a “need” to censor it. Under such a constraining environment, cinema finds itself in need of finding its own language in order to counter this censorship. This marks the beginning of the creative process. Ultimately, this project makes the rather bold statement that cinema is not a simple entertainment, or else a propaganda tool, but can also be appropriated by the people, as a tool for resistance and opposition, through which dissident demands can be expressed in the face of hegemonic dominant powers using creativity and symbolism as the main processes.
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Graham, Mark A. "Afghanistan and the cinema the politics of representation in Kandahar and Osama /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2006.Source: Masters Abstracts International, Volume: 45-06, page: 2696. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaves 137-145).
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Verano, Frank. "D.A. Pennebaker and the politics and aesthetics of mature-period direct cinema." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65757/.
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In this thesis, I offer a reappraisal of direct cinema through a study of documentarian D.A. Pennebaker's mature-period direct cinema. This is an unexamined period in Pennebaker's career that offers new perspectives on an often-maligned form of documentary. The period under study ranges from 1968 to 1970 and encompasses a range of films, commercials, abandoned projects and personal works. I focus on three films: Eat the Document, Sweet Toronto and One P.M. By shifting the critical focus away from the early and classical period of direct cinema, as well as its ‘canonical' films, I ask: How does direct cinema engage with the world in its later stages? What can be understood about direct cinema by examining works that do not circulate in ‘the canon,' and how does this analysis change our perception of it? Two further questions guide my study of Pennebaker: What are the aesthetic properties and ideological preoccupations that characterise Pennebaker's mature period? What is the political address of this set of films and how does that reposition the politics of direct cinema as a whole? Methodologically, I employ a close textual analysis of the films and an historical analysis of the period, conduct personal interviews with Pennebaker, and engage with intellectual debates within documentary studies to answer these questions. My study builds upon recent trends in direct cinema scholarship, which have opened up new critical horizons by returning the critical focus to the film texts themselves and the cultural and social contexts in which they were produced. I contribute knowledge to documentary studies by focusing critical attention on a neglected period in a key documentarian's career. Additionally, I perform a textual analysis of the period's films that focuses on the materiality of sync sound – the crucial, but largely neglected, aesthetic characteristic of direct cinema – as a means of investigating my ideological and political line of questioning. I also develop two key concepts: the performative documentary, which builds upon existing definitions by Waugh ([1990] 2011), Nichols (1994) and Bruzzi (2006; 2013) and furthers the concept through an application of Brecht's alienation effect; and ‘kinetic progressions,' which, I argue, is Pennebaker's cinematic process of signification that exploits classical direct cinema's emphasis on present-ness and found symbolism to further formally evolve the language of direct cinema in a way that fulfils its potentiality for political discourse.
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Fitzgerald, Louise. "Negotiating lone motherhood : gender, politics and family values in contemporary popular cinema." Thesis, University of East Anglia, 2009. https://ueaeprints.uea.ac.uk/10577/.
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In 2001, four out of the five Academy Award nominations for best actress went to women who played the role of a lone mother, Juliette Binoche for Chocolat (Lasse Hallsttrom: 2000) Julia Roberts for Erin Brockovich (Steven Soderbergh: 2000), Laura Linney for You Can Count on Me (Kenneth Lonnergan: 2000) and Ellen Burstyn for Requiem for A Dream (Darren Aronofsky: 2000). The fact that these four films each prioritized a narrative of lone motherhood became a point of interest for cultural observers who saw the popularization of lone mother narratives as indicative of mainstream cinema’s policy of inclusion and diversity and reflective of a broader political acceptance of lone motherhood. And yet, despite the phenomenal political and cultural significance of the lone mother figure, little academic attention has been paid to the cultural prioritization of this oftentimes demonized female figure. This thesis offers a critical account of the cultural investment in mainstream cinema’s lone mother figure to argue that she plays a crucial role in shoring up postfeminist, neoliberal and neo-conservative family values rhetoric in ways which highlight the exclusions on which postfeminism thrives.
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Shiel, Mark Anthony. "Radical agendas and the politics of space in American cinema, 1968 to 1974." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313985.
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Schilt, Thibaut. "Marginal pleasure and auteurist cinema: the sexual politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1116968586.
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Salem, Lema Malek. "Women in contemporary Palestinian cinema." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/women-in-contemporary-palestinian-cinema(20e6c0d2-f5e8-4b75-bdd7-6933c8ab7432).html.
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This thesis seeks to increase recognition of contemporary Palestinian women’s cinema and locates it firmly within the Palestinian film industry. I argue that Palestinian women’s cinema has created and developed a nuanced cinema whilst sustaining and enhancing the Palestinian film industry. The twenty-first century has undeniably witnessed the vigorous development of a Palestinian women’s cinema and the number of Palestinian women filmmakers and films is still on the rise. Scholars have often focused on increasing worldwide recognition of mainstream Palestinian films directed and produced by well-known Palestinian filmmakers. This has resulted in the marginalisation of Palestinian women’s cinema within an already marginalised Palestinian film industry. I locate Palestinian cinema, in the introduction, as a transnational cinema and I also explain my rationale for placing women’s film under the category of “women’s cinema”. In order to offer a comprehensive analysis and to understand and examine the corpus of films in this thesis, I firstly provide an overview of the historical and contemporary background of Palestinian popular arts and cinema, highlighting Palestinian women’s participation. In chapter 2, I discuss women’s roles in Palestinian politics in order to trace women’s positions and roles in political public life because it is difficult to separate activism from social life and thus from cinema, as these three intersect and mutually influence one another. In chapter 3, 4 and 5 I argue, through detailed discussion and analysis of this body of work that, unlike Palestinian cinema at large, Palestinian women filmmakers embody, interweave and reflect on the complex and often contradictory contemporary and historical issues taking into account ideologies and socio-cultural differences in a complex geopolitical space (e.g. sexual restrictions, power and authority, femininity and masculinity, restriction on movement and hyphenated identities). I also argue that these women filmmakers are interested in developing responses to what they see as heterogeneous and hyphenated Palestinian identities while adapting traditional and modern filmic styles. Here I have studied their works thematically as this provided greater insight into the social and historical contexts of contemporary Palestinian lives. I argue that films by Palestinian filmmakers living inside Palestine focus and revolve around socio-culturally sensitive and underrepresented issues of love and sexuality (chapter 3), violence and power (chapter 4). I also argue that hyphenated Palestinian filmmakers, in this case, Palestinian American filmmakers, explore through their work themes of displacement and the imagined homeland by reflecting on historical events and also through examining the different ‘journeys’ of their hyphenated characters, both internal and geographical. I study the films in this thesis within contemporary discourses on culture, cultural capital, discourses of power, identity, migration and diaspora, exile, feminist debates, gender politics, postcoloniality and borderlands.
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Borges, Rafael de Almeida Tavares 1987. "Poéticas do lago e sua superfície : o cinema de Cao Guimarães." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284498.
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Orientador: Francisco Elinaldo TeixeiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Pesquisa sobre a obra do artista plástico e cineasta Cao Guimarães, considerando, em especial, os aspectos estéticos de seus trabalhos e as implicações políticas latentes provenientes da forma ensaística assumida por suas obras. O artista contemporâneo parte da escuridão de seu tempo e percebe as potências de linguagem camufladas nos detalhes mais ínfimos, materiais com os quais irá trabalhar para abri-los a um novo possível uso, a novos modos de perceber e sentir, a serem partilhados com aqueles que entram em contato com suas obras. A filmografia analisada se constituiu das seguintes obras em curtametragem: Otto - eu sou um outro (1998); The eye land (1999); Between - inventário de pequenas mortes (2000); Sopro (2000); Hypnosis (2001); Word/World (2001); Coletivo (2002); Volta ao mundo em algumas páginas (2002); Aula de anatomia (2003); Nanofonia (2003); Concerto para clorofila (2004); Da janela do meu quarto (2004); Atrás dos olhos de Oaxaca (2006); Quarta-feira de cinzas (2006); Peiote (2007); Sin peso (2007); El pintor tira el cine a la basura (2008); Mestres da Gambiarra (2008); Memória (2008); O sonho da casa própria (2008); O inquilino (2010). Já em longa-metragem, temos: O fim do sem fim (2001); Rua de mão dupla (2002); A alma do osso (2004); Acidente (2006); Andarilho (2006) e Ex isto (2010). Uma espécie de cartografia de suas poéticas - aqui denominadas poéticas do lago e sua superfície - é o que buscamos realizar no âmbito dessa pesquisa, por meio da construção de um percurso analítico junto às obras de Cao Guimarães
Abstract: Research on the work of the artist and filmmaker Cao Guimarães, considering, in particular, the aesthetic aspects and the latent political implications from the essayistic form assumed by his works. The contemporary artist parts from the obscurity of his period and realizes the language potential camouflaged in the finest details, materials in which he will work to open them to a possible new use, to new ways of perceiving and feeling, which will be shared with those who have contact with his works. The analyzed filmography consisted on the following short films: Otto - I am another (1998); The eye land (1999); Between (2000); Blow (2000); Hypnosis (2001); Word/World (2001); Bus (2002); Around the world in a few pages (2002); Anatomy class (2003); Nanophany (2003); Concert for clorophyll (2004); From the window of my room (2004); Behind Oaxaca's eyes (2006); Epilogue (2006); Peiote (2007); Weightless (2007); El pintor tira el cine a la basura (2008); Masters and Gambiarras (2008); Memory (2008); Veiled dream (2008); The tenant (2010). Already in feature film, we have: The end of the endless (2001); Two way street (2002); The soul of the bone (2004); Accident (2006); Drifter (2006) and Ex it (2010). A type of mapping of his poetics - here denominated as lake poetics and its surface - is what we intend to accomplish in this research, through the construction of an analytical course along the works of Cao Guimarães
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Egan, Eric. "Cinema, culture and politics in the Islamic Republic of Iran : the films of Mohsen Makhmalbaf." Thesis, Nottingham Trent University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251932.
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Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.
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Cabral, Raquel [UNESP]. "Estratégias da comunicação no cinema pós-11 de setembro: a legitimação da guerra." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/89451.
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Pensando nas sofisticadas estratégias da comunicação, que ora seduzem, ora inibem valores e legitimam ideologias, é que analisamos o cinema sob o ponto de vista político. Neste sentido, nos perguntamos: como estudar uma arte, que ao mesmo tempo em que é arte, é também um meio de comunicação? Acreditamos que, conhecer sua manifestação no interior das sociedades é também compreender como arte e política se relacionam, pautando e influenciando muitas vezes, o cotidiano das populações, no nosso caso, através de filmes e trailers de guerra. Assim, é que nossa pesquisa essencialmente qualitativa, interpreta o cinema: como espaço de mediação entre cultura, política, mercado e sociedade, um campo de batalha da comunicação social, que recria a guerra cinematográfica para discutir ou reafirmar valores que promovem e incentivam conflitos; para criticar posicionamentos políticos, para resistir à hegemonia nas suas mais diversas faces e quem sabe assim, vir a apontar os caminhos rumo a uma cultura da paz.
We analyze the cinema under a political a point of view when we think about high strategy of communications, which sometimes enchant or sometimes hinder values and became truth some ideology. This way, we ask ourselves: how study an art, which the same time is an art and also media? We believe on knowing this manifestation in the inner of societies is also understand how art and politic are related, they often show and flow into the daily life of the people, in our condition, this influence is through war films and war trailers. So, in our quality survey we explain the cinema like a space of meditation among culture, politic, market and society, a battle field of social communication, where rebuild a war of the cinema to discuss or to reaffirm values which promote and estimulate conflicts, criticize politics attitude, to resist to the hegemony in their different ways and who knows, point a way to a culture of peace.
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Willis, Andrew. "Violent exchanges : genre, national cinemas and the politics of popular films : case studies in Spanish horror and American martial arts cinema." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/13908/.
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This thesis argues that in order to understand the way in which films work one has to place them into a variety of contexts. As well as those of production, these include the historical and culturally specific moments of their creation and consumption. In order to explore how these contexts impact upon the textual construction of individual and groups of films, and our potential understanding of them, this study offers two contrasting case studies of critically neglected areas: Spanish horror cinema since the late-1960s; and US martial arts films since the late 1980s. The first places a range of horror films into very particular historical moments: the Spain of the Franco regime; the transition to democracy in the late 1970s and early 1980s; and the contemporary, increasingly trans-national, Spanish film industry. Each chapter in this section looks in detail at how the shifts and changes in Spanish society, the critical reception of cinema, and production trends, has impacted upon the texts that have appeared on increasingly international screens. The second case study considers the shifts and changes in the production of US martial arts films. It discusses the problem of defining an area of filmmaking that is more commonly associated with a different filmmaking tradition, in a different national cinema. Each chapter here investigates the ways in which 'martial arts movies' operate in strikingly different production contexts. In particular, it contrasts films made within the US mainstream or Hollywood cinema, and the exploitation world that functions on its fringes. Finally, these case studies suggest that a fuller understanding of these works can only be achieved by utilising a number of approaches, both textual and contextual; creating an approach which Douglas Kellner has described as 'multiperspectival'.
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Matos, Yanet Aguilera Viruez Franklin de. "A crônica visual de Michelangelo Antonioni." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-21112007-150656/.
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A análise procura entender a inversão que Antonioni realiza na relação entre imagem e texto no cinema. A ficção já não é suficiente para fazer uma abordagem efetivamente política do mundo contemporâneo. Apenas a imagem polissêmica é capaz de criar uma espécie de \"dês-enredo\" que, ao não se deixar reduzir a um sentido único, traz a luz outra dimensão da relação entre figura e fundo do quadro cinematográfico.This study attempts to understand the inversion of what Antonioni makes in the relation between image and text in the cinema. The fiction is no longer enough to approach politically the contemporaneous world. Only the image polissemic is able to create a sort of \"disembroil\" that does not let to reduce to just one sense, and for consequence lightens another dimension of the relations between character and scenery in the cinematographic picture.
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潘敏聰 and Man-chung Pun. "Remembering the cultural revolution: a study of Chinese cinema since 1978." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B3122779X.
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Gruner, Oliver. "Public politics/personal authenticity : a tale of two sixties in Hollywood cinema, 1986-1994." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/31696/.
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Das, S. M. "A market of emotions : Bombay cinema, Punjabi culture and the politics of popular entertainment." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598286.
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This thesis is multi-sited. Its first site of exploration is the world’s largest film industry, the commercial cinema world of Bombay, India. Through ethnography, it studies the processes by which commercial Hindi-Urdu films are made. It explores the history of this cinema industry along with an analysis of film professionals’ views on Bombay cinema, its roles within the Indian nation and the unique public sphere formed by it, its hegemonic and subversive practices, factors that influence its content and the ways both the Indian State and processes of globalisation have impacted the Bombay film industry. At another site, a Punjabi village in northern India, the thesis explores how popular Bombay cinema impacts viewers’ notions of identity, self, community and others. The thesis discusses how commercial Bombay cinema is influenced both by the cultural and historical backdrop to its functioning as well as by contemporary socio-political and economic occurrences. The thesis specifically examines how through the 1990s, India’s economic liberalisation, experience of militant Hindu nationalism and political movements around caste identity have affected popular Bombay cinema. The thesis discusses the predominance of ‘Punjabi culture’ in popular Bombay cinema of the 1990s onwards. It explores the main symbols of such cinematic culture, namely prosperity, vigour, manliness, joy, conspicuous consumption, Hindu ritualism and co-existence between tradition and modernity. It studies the history of such symbols and explores the impact of such cinematic symbolism upon Punjabi viewers. Specifically, this thesis discusses ethnography in a Sikh Punjabi village in India, examining how Jat, Backward and Scheduled Caste Sikhs negotiate cinematic Punjabiyat. The thesis thus delves into complex notions of purity, pollution and power, economic status, national belonging, cultural identity and diverse role-playing, as well as the significant intersections these make with ‘entertaining’ Bombay cinema.
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Dadar, Taraneh. "Reading against the veil : gender and politics in popular cinema of post-revolutionary Iran." Thesis, Queen Margaret University, 2012. https://eresearch.qmu.ac.uk/handle/20.500.12289/7330.
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This thesis examines gender in the popular cinema of post-revolutionary Iran. It argues that a distinctly feminine discourse gradually emerged in post-revolutionary Iranian cinema and became very visible in the reformist period (1997-2005). This research covers the period between the establishment of the Islamic Republic and the end of the reformist period (1979-2005). Drawing on Stuart Hall (1981), this thesis considers popular culture, and popular cinema by extension, as a site of cultural struggle and focuses on gender representation as a major locus of post-revolutionary socio-political negotiation. Reading Iranian cinema in terms of an art/popular spectrum, the thesis examines four case studies from films that have been commercially successful, and have mobilised generic or formal conventions through their controversial gender representations. Three of these case studies, The Bride (1992), Red (1999) and Hemlock (2000) examine femininity in post-revolutionary popular cinema, while The Snowman (1995) has been included for its transgressive representation of masculinity.
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Zielinski, Gerald James. "Furtive, steady glances: on the emergence and cultural politics of lesbian & gay film festivals." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32388.
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This dissertation charts the emergence of lesbian and gay film festivals in the United States and Canada, their meanings and politics, through the specific discursive contexts in which the festivals are embedded. I argue that while general international film festivals operate within a very well defined network, the added categories of minority sexuality and community crucially and fundamentally change the relationship of the films screened to the festival, films and festival to audience, and the festival to any network of distribution. The aim is then to explore those changes and differences through a comparative analysis of selected film festivals organized around categories of minority sexual identities. I argue that the lesbian and gay film festival poses a unique set of histories and structures that differ significantly from the general international film festival. The main case studies include festivals in Montreal, New York City, San Francisco and Toronto.Cette thèse décrit l'émergence des festivals du cinéma lesbien et gai aux États-Unis et au Canada, leurs significations et leurs dimensions politiques, à travers les contextes discursifs particuliers dans lesquels les festivals sont intégrés. Je propose que, si les festivals internationaux à caractère général opèrent dans des réseaux très bien définis, dans le cas des festivals organisés sur la base des catégories de sexualités minoritaires et de leurs communautés, la relation des films projetés au festival, les films du festival et aux spectateurs et aux spectatrices, et le festival à n'importe quel réseau de distribution de films, changent fondamentalement. Le but de la thèse est alors d'explorer ces changements et ces différences à travers une analyse comparative de certains festivals de cinéma organisés autour de catégories d'identités sexuelles minoritaires. Je propose que les festivals du cinéma gai et lesbien offrent un ensemble unique d'histoires et de structures qui diffèrent fondamentalement de celles des grands festivals de film internationaux. Les cas principaux étudiés ici sont des festivals à Montréal, New York, San Francisco et Toronto.
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Carrillo-Vincent, Matthew. "The work of being a wallflower| The peripheral politics of male sentimentality." Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598174.
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One need not strain to find examples of male sentimentality in contemporary US popular culture: From frequent news stories on "Weeper of the House" John Boehner, to the success of Judd Apatow's poignant "bromance" movies, to last year's film adaptation of Stephen Chbosky's celebrated adolescent novel, The Perks of Being a Wallflower (1999), the man of feeling seems more present and popular than ever. With an unsettling display of excessive emotion emanating from the male body, each iteration provokes in viewers, listeners, and cultural critics any one of several disparate responses: Whether committed to the transgressive potential of a male who feels different because he offers vulnerability where others offer hardened restraint, or whether insistent in the claim that these texts simply add to what Gail Bederman would call the "remaking" of a continually complex normative subject, we find in the man of feeling an ambivalent subject for the public sphere. The initial question for readers, listeners, or viewers is often a simple one: is male sentimentality transformative and progressive, or is it pathetic and self-serving? But the presumption that we must answer one way or another belies the historical and cultural complexity of the man of feeling, and merely reinforces a kind of political approach to reading that simply replicates our own attitudes and relation to normativity and its privileges. This dissertation—under the impulse of recent work in queer theory and affect to reach closer to, rather than further from, normativity—takes up the counterintuitive position that we might draw this unlikely subject of the wallflower out from the sidelines and use him to interrogate normativity not from outside, but rather beside, its unsteady borders. It asks a central question—What does it mean for a critique of normativity to come from the normative subject?—and argues that the "peripheral" reading of normativity he helps enable might serve to render the logics of normativity in different ways than we can with more traditionally oppositional forms of critique.
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Scott, Kathleen. "Cinema of exposure : female suffering and spectatorship ethics." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6312.
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This thesis explores the intersection of phenomenological, bio-political and ethical facets of spectatorship in relation to female suffering and gendered violence in contemporary film produced in Europe (mainly drawing on examples from France) and the United States. I argue that the visceral and affective cinematic embodiment of female pain plays a vital role in determining the political and ethical relationships of spectators to the images onscreen. Drawing on phenomenological theory, feminist ontology and ethics (primarily the work of Hélène Cixous), as well as the ethical philosophies of Gilles Deleuze and Jean-Luc Nancy, I establish the bio-political and ethical positions and responsibilities of spectators who encounter female suffering in film. In doing so, I highlight the ways in which adopting a phenomenological approach to theorizing and practicing spectatorial perception can open up new areas of ethical engagement with (and fields of vision within) controversial modes of filmmaking such as European New Extremism and body horror. I analyze how suffering female bodies embody contemporary corporeal, socio-political and ethical problematics in what I define as the “cinema of exposure.” I argue that through processes of psychosomatic disturbance, films within the cinema of exposure encourage spectators to employ a haptic, corporeally situated vision when watching women experience pain and trauma onscreen. I explore how encounters with these suffering female bodies impact spectators as political and ethical subjects, contributing a crucial bio-political dimension to existing work on spectatorial engagement with cinematic affect. The goal of this thesis is to highlight the continued importance of feminist critiques of gendered and sexualized violence in film by attending to the emotional, physical, political and ethical resonances of mediated female suffering. This thesis contributes productively to those areas of film and media studies, women's studies and feminist philosophy that explore the construction of female subjectivity within contemporary culture.
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Rosenfeld, Rachel F. "Confrontation Cinema in the Age of Neoliberalism; Where Brazil and the United States Meet." Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/cmc_theses/222.
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Contents: Introduction; The Smell of Revolution and Popcorn; Filling the Gaps: Historical Context; Brazilian Cinema in the Age of Neoliberalism and Political Discourse of the New Brazilian Left; US Films and the Iraq War: This isn’t my America; Epilogue
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Kosmaoglou, Sophia. "The self-conscious artist and the politics of art : from institutional critique to underground cinema." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8000/.
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The current debates about political art or aesthetic politics do not take the politics of art into account. How can artists address social politics when the politics of art remain opaque? Artists situated critically within the museum self-consciously acknowledge the institutional frame and their own complicity with it. Artists’ compromised role within the institution of art obscures their radically opposed values. Institutions are conservative hierarchies that aim to augment and consolidate their authority. How can works of art be liberating when the institutional conditions within which they are exhibited are exclusive, compromised and exploitive? Despite their purported neutrality, art institutions instrumentalise art politically and ideologically. Institutional mediation defines the work of art in the terms of its own ideology, controlling the legitimate discourse on value and meaning in art. In a society where everything is instrumentalised and heteronomously defined, autonomous art performs a social critique. Yet how is it possible to make autonomous works of art when they are instantly recuperated by commercial and ideological interests? At a certain point, my own art practice could no longer sustain these contradictions. This thesis researches the possibilities for a sustainable and uncompromised art practice. If art is the critical alternative to society then it must function critically and alternatively. Artistic ambition is not just a matter of aesthetic objectives or professional anxiety; it is particularly a matter of the values that artists affirm through their practice. Art can define its own terms of production and the burden of responsibility falls on artists. The Exploding Cinema Collective has survived independently for twenty years, testifying to this principle. Autonomy is a valuable tool in the critique of heteronomy, but artists must assert it. The concept of the autonomy of art must be replaced with the concept of the autonomy of the artist.
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Rigoletto, Sergio. "The politics of masculinity : male subjectivity and social conflict in Italian cinema of the 1970s." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529961.
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The 1970s have been largely seen as the starting point of a period of crisis for Italian cinema, marked by the increasing financial difficulties of its film industry and the gradual dissolution of its long and authoritative tradition of political engagement. This thesis interrogates this rhetoric of crisis and assesses the impact of the political and social unrest of this period on cinema. Its focus is on gender. In particular, it demonstrates how masculinity repeatedly functions in a number of films of this period as a crucial component in the articulation of critical commentaries about the nation and its socio-political lacerations. This thesis places films in their historical context and in relation to contemporary debates about politics, national identity and gender. It assesses the impact of these debates on cinematic representations of masculinity and examines the strategies used by a number of filmmakers to make sense of the social upheavals of the 1970s. The thesis develops an understanding of the characteristics, functions and implications of a number of cinematic narratives about men and their dilemmas at this particular historical moment. Through in-depth analysis of selected films, this thesis examines the rhetoric of male crisis of the 1970s and explores its relation to anxieties about modernization, the sexual liberation movements and the legacy of 1968. Each chapter shows how Italian cinema of the 1970s develops a commentary on the sociopolitical conflicts and tensions of this period through male points of view. This thesis examines the limits of this gendered perspective as well as some of the opportunities that it raises for understanding questions of agency and gender power in relation to the cinematic medium. Finally, it assesses the political potential for resistance and dissidence of some of these films and the way in which they attempt to challenge dominant gender paradigms of cinematic visibility.
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Ibarra, Enrique Ajuria. "Fauns, ghosts and vampires : the politics of fantasy and horror in Mexican and Spanish cinema." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654973.
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This thesis explores contemporary fantasy horror films from Mexico and Spain in relation to the politics of historicity, trauma and national identity. Mexican director Guillermo del Toro's international success offers a renovated approach to this genre. A critical evaluation of his films reveals an interest in employing supernatural creatures and events to address cultural and historical issues, such as the impact of globalisation in Mex~co or the effects of the Civil War in Spain. Whether a vampire, a ghost or a faun, the presence of monsters in del Toro's films does not aim to present a fiction that escapes from reality, but rather to assess critically the ideological and discursive frameworks that constitute such reality in both countries. My research considers the psychoanalytical definition of fantasy to be ideal for this analysis. As a setting of desire, fantasy possesses a clear narrative structure that determines subjectivity. The projection of desire can be established in film terms, where the presence of the supernatural reinforces fantasy's ambivalent feature. On the one hand, it reveals discursive inconsistencies that determine the subject and its reality, and exposes a void of horror and lack of signification. On the other hand, fantasy re-structures national and historical significations around a desire for trauma. By analysing del Toro's Mexican and Spanish productions and a selection of more recent films, this thesis establishes how the psychical structure of fantasy determines a propelling narrative of desire in the fantasy film genre. The incorporation of Gothic and horror elements in these films also provides evidence of the uncanniness of the discourse of identity. The function of fantasy, then, ideologically sutures the constitution of an historical traumatic past by means of the supernatural and the monstrous, which work as mediating devices for the discourse of national identity.
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Jesus, Marco Aurélio de Oliveira. "Postmodernism with Chinese characteristics : media and politics in the cinematic images of the post-New Era." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/3378.
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Mestrado em Estudos ChinesesA presente dissertação visa expôr a forma como pode ser concebido o conceito de pós-modernismo na China. Através da análise cinematográfica, área fundamental no debate pós-moderno, focada no estudo dos filmes Big Shot’s Funeral, Quitting, e Suzhou River, pretende-se debater a ideia dos textos cinematográficos como produtos culturais pós-modernos, ao mesmo tempo reflectores e produtores de uma realidade pós-moderna na China contemporânea ABSTRACT: The present dissertation attempts to debate the way in which a Chinese postmodernism can be conceived. Through cinematic analysis, a fundamental aspect in the postmodern debate, focused in the study of the films Big Shot’s Funeral, Quitting, and Suzhou River, it will be discussed the cinematic text as a postmodern cultural product, at the same time reflector and constructor of a postmodern reality in present-day China.
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Junior, José David Borges. "As máscaras de Robinson Crusoe: a representação do individualismo moderno em Daniel Defoe e Mozael Silveira." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-14112012-121342/.
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Esta dissertação visa a estudar as metamorfoses do individualismo moderno em duas produções culturais distintas, concebidas em civilizações e contextos históricos também diversos, a saber: Reino Unido, à época da Revolução Inglesa e Brasil, em tempos de ditadura militar. Para isso, realizou-se uma análise comparativa entre as obras Robinson Crusoe, de Daniel Defoe e As aventuras de Robinson Crusoé, de Mozael Silveira. Assim, foi possível verificar como a literatura e o cinema, entendidos como campos narrativos, funcionam em processos dialógicos, encenando problemáticas sociais, históricas e ideológicas por meio de suas construções discursivas e linguagens próprias, de modo a simbolizar o mundo e oferecer, ao pesquisador, novas formas ou modelos para compreensão da realidade e, portanto, do próprio entendimento acerca do supracitado conceito.This dissertation aims to study the metamorphoses of modern individualism into two distinct cultural productions, designed in civilizations and historical contexts also distinct, namely: United Kingdom, at the time of the English Revolution and Brazil, in times of military dictatorship. For both, the comparative analysis works as a method of investigation between Robinson Crusoe, by Daniel Defoe and As aventuras de Robinson Crusoé, by Mozael Silveira. In this way, was possible to verify as literature and cinema, understood as narrative fields, works in dialogic processes, staging social, historical and ideological problems through their own languages and discursive constructions, to symbolize the world and offer, for the researcher, new forms or models for understanding of reality and, therefore, the understanding of that concept.
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Prasannam, Natthanai. "Mnemonic communities : politics of World War II memory in Thai screen culture." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12247.
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This thesis examines the politics of World War II memory in Thai screen culture with special reference to films and television series produced between the 1970s and the 2010s. Framed by memory studies and film studies approaches, the thesis hopes to answer 1) how WW II memory on screen is related to other memory texts: monuments, museums and commemorative rituals and 2) how the memory is coded by various genres: romance, biopic, combat film and horror. The project relies on a plurimedial network which has not yet been extensively studied by film scholars in Thailand. Through the lens of memory studies, the on-screen memory is profoundly intermingled with other sites of memory across Thailand and beyond. It potentially is counter-memory and vernacular memory challenging the state's official memory. The politics of WWII memory are also engaged with cultural politics in Thailand in terms of class, gender and ethnicity. The politics of commoners and trauma are given more voice in WWII memory compared to other moments of the national past, which are dominated by the royal-nationalism. From film studies perspectives, the genres mediating WWII memory are shaped by traditions of Thai-Thai and transnational screen culture; the Thai WWII combat film is a newly proposed genre. The thesis also explores directors, the star system, exhibition and reception. The findings should prove that WWII memory on Thai screen serves their roles in memory institutions which construct and maintain mnemonic communities as well as the roles in entertainment and media institutions. Another crucial implication of the research is that politicising WWII memory on the Thai screen can illuminate how memory and visual texts travel. The research likewise manifests its contributions to a better understanding of how Thai screen culture can be positioned within both global memory culture and global screen culture.
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Tulio, Mariza. "Gender and the politics of the gaze in Bronte's Wuthering Heights." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92897.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.Made available in DSpace on 2012-10-24T13:40:33Z (GMT). No. of bitstreams: 1 275862.pdf: 608321 bytes, checksum: 66ae3bfcb733e93a1dcf9e3554b875be (MD5)
O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.
The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century.
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Cabral, Raquel. "Estratégias da comunicação no cinema pós-11 de setembro : a legitimação da guerra /." Bauru : [s.l.], 2006. http://hdl.handle.net/11449/89451.
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Orientador: Maximiliano Martin VicenteBanca: Murilo César Soares
Banca: Sidney Ferreira Leite
Resumo: Pensando nas sofisticadas estratégias da comunicação, que ora seduzem, ora inibem valores e legitimam ideologias, é que analisamos o cinema sob o ponto de vista político. Neste sentido, nos perguntamos: como estudar uma arte, que ao mesmo tempo em que é arte, é também um meio de comunicação? Acreditamos que, conhecer sua manifestação no interior das sociedades é também compreender como arte e política se relacionam, pautando e influenciando muitas vezes, o cotidiano das populações, no nosso caso, através de filmes e trailers de "guerra". Assim, é que nossa pesquisa essencialmente qualitativa, interpreta o cinema: como espaço de mediação entre cultura, política, mercado e sociedade, um campo de batalha da comunicação social, que recria a guerra cinematográfica para discutir ou reafirmar valores que promovem e incentivam conflitos; para criticar posicionamentos políticos, para resistir à hegemonia nas suas mais diversas faces e quem sabe assim, vir a apontar os caminhos rumo a uma cultura da paz.
Abstract: We analyze the cinema under a political a point of view when we think about high strategy of communications, which sometimes enchant or sometimes hinder values and became truth some ideology. This way, we ask ourselves: how study an art, which the same time is an art and also media? We believe on knowing this manifestation in the inner of societies is also understand how art and politic are related, they often show and flow into the daily life of the people, in our condition, this influence is through war films and war trailers. So, in our quality survey we explain the cinema like a space of meditation among culture, politic, market and society, a battle field of social communication, where rebuild a war of the cinema to discuss or to reaffirm values which promote and estimulate conflicts, criticize politics attitude, to resist to the hegemony in their different ways and who knows, point a way to a culture of peace.
Mestre
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Harper, Mark C. "The violent act of femininity sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210040.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2006.Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0756. Adviser: Joan Hawkins. "Title from dissertation home page (viewed March 16, 2007)."
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Milanezi, Daniel Tabarani Santos. "Espelhos do tempo: política no cinema de Tarkovsky." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2532.
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Based on an esthetical-political analysis of the film Solaris, and an investigation on the personal and artistic life of Andrei Tarkovsky, within a historical and political context situated in the Soviet Union from the 1960s through the 1990s, it s proposed in this research to emphasize the shock between this artist and the Soviet State, with the purpose to demonstrate a political presence in Tarkovsky s work. Tarkovsky s own writings, the philosophical and esthetical concepts of Gilles Deleuze, the political notions of political presence of the work and esthetization of politics, written by Professor Miguel Chaia, give support to the foundations of this dissertation, making it possible to create: a discussion about Tarkovsky s conceptions of art and cinema; an analytical cut of the film Solaris, showing the esthetical, political, historical problems involved in this work; an overview of the Soviet cinematographic industry, debating the relationship between the artist Tarkovsky and the authoritarian bureaucracy of the Soviet State, as well as the effects of this as a political act of resistance made by the filmmaker through his filmography
A partir de uma análise estético-política do filme Solaris, e de uma investigação sobre a vida pessoal e artística de Andrei Tarkovsky, dentro de um contexto histórico-político situado na União Soviética dos anos 1960 até a década de 1990, propõe-se, nesta pesquisa, destacar o embate entre esse artista e o Estado soviético, com o objetivo de demonstrar uma presença política da obra de Tarkovsky. Os escritos do próprio Tarkovsky, os conceitos filosóficos e estéticos de Gilles Deleuze, as noções políticas de presença política da obra e estetização da política, trazidas pelo Prof. Miguel Chaia, dão embasamento para a fundamentação deste trabalho, possibilitando: uma discussão sobre as concepções de arte e cinema do artista Tarkovsky; um recorte analítico do filme Solaris, mostrando as questões estéticas, políticas, históricas envolvidas na obra; um panorama da indústria cinematográfica soviética, problematizando a relação entre o artista Tarkovsky e a burocracia autoritária do Estado soviético, assim como os efeitos disso enquanto ato político de resistência por parte do cineasta através de sua filmografia
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Goldson, Annie. "A claim to truth: documentary, politics, production." Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.
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The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.Whole document restricted, but available by request, use the feedback form to request access.
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Liu, Wai-yeung. "The politics of nostalgia explorations of home, homeland and identities in the context of an accented cinema /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B36613368.
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Liu, Wai-yeung, and 廖慧楊. "The politics of nostalgia: explorations of home, homeland and identities in the context of an accented cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B36613368.
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Gonzalez-Lopez, Irene. "The prostitute in postwar Japanese cinema (1945-1975) : melodrama, soft-porn, and the body politics of modernisation." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26674/.
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Arinc, Cihat. "Postcolonial ghosts in new Turkish cinema : a deconstructive politics of memory in Dervis Zaim's 'The Cyprus Trilogy'." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16081/.
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Postcolonial intercommunal violence on Cyprus and its after-effects have been studied extensively in the social sciences and humanities over the past five decades. However, the cinematic representations of the postcolonial condition in Cyprus have not yet received significant critical recognition. This dissertation is a response to the scarcity of scholarship on cinematic representations of the postcolonial history of the island. By analysing cinematically recreated and visualised ghostly matters of interethnic strife and post-conflict situation in Cyprus, I want to contribute to the current debates on the politics of postcolonial memory in Cyprus. My discussion focuses specifically on a film trilogy by the Turkish-Cypriot art house film director Dervis Zaim, ‘The Cyprus Trilogy’: Mud (Çamur, 2003), Parallel Trips (Paralel Yolculuklar/ Ta parállila monopátia [Τα παράλληλα μονοπάτια], codirected with Panicos Chrysanthou, 2004), and Shadows and Faces (Gölgeler ve Suretler, 2011). This trilogy is the most remarkable set of critical films about the partition of the island that have been produced in post-Yesilçam Turkish film history. My analysis of Zaim’s film trilogy departs from the assumption of the primacy of the phenomenological experiences of the postcolonial Cypriots over geopolitical and macro-historical explanations. The reading of Dervis Zaim’s works about the intercommunal civil wars in postcolonial Cyprus raises the question of the haunting/hauntedness. Therefore, this Ph.D. thesis addresses hauntological themes such as disjointed time, memory, historical justice, haunting, visor effect, voice, silence, ghost story, haunted house, haunted body, and the absent other that appear persistently in the films. Throughout this thesis, the spatial/temporal, vocal/narrative, and embodied/disembodied aspects of Zaim’s film trilogy are discussed, drawing primarily upon a Derridean hauntology. Building a theoretical bridge between hauntology and postcolonial cinema, the relationship between postcolonial memory, film, and haunting is examined in the context of Cyprus. This thesis concludes by discussing the extent to which Dervis Zaim and his spectral realist films have achieved the deconstruction of postcolonial memory through challenging both the imperialist and nationalist structures imposed by dominant discourses.
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Chandelier, Frédéric. "Les Cahiers du Cinéma dans les années soixante-dix : enjeux esthétiques de la représentation de l’histoire et de la mémoire des luttes populaires." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100110.
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Cette thèse traite de la période durant laquelle les Cahiers du Cinéma ont appliqué une lecture idéologique aux films populaires. Elle met en exergue les débats et les différentes théories critiques développées autour de la représentation de l’histoire des luttes populaires au sein du cinéma français, italien et américain de 1973 à 1978. Ce travail analyse les articles parus dans la revue à partir de la prise en charge de la rédaction par Serge Daney et Serge Toubiana. Le changement qui intervient alors au sein de la revue est indissociable d’un désir de retour à une critique renouant avec le cinéma après une période marquée par l’engagement politique de la rédaction depuis 1968. Les retrouvailles avec cette critique filmique encore empreinte de militantisme passent par une lecture des intentions idéologiques que recouvrirait le cinéma populaire. Les films sont appréhendés par la revue tels des moyens pour la classe bourgeoise de rendre naturelle sa conception du monde, de la société et de l’Histoire. C’est aux côtés des philosophes Michel Foucault, Jacques Rancière et de l’historien Marc Ferro que les critiques des Cahiers vont affiner une approche historiographique de la représentation des masses populaires au cinéma. De la France de Charles de Gaulle au programme socialiste de François Mitterrand en passant par l’arrivée au pouvoir de Valéry Giscard d’Estaing, la rédaction des Cahiers du Cinéma focalise son analyse sur les mutations et les ruptures qui caractérisent les gouvernements se succédant. Ce travail revient sur les différentes lectures que les critiques développent à l’endroit du découpage de films historiques et documentaires traitant de mouvements révolutionnaires tels que mai 68, sur les films ayant recours à des images d’archives, sur la décontextualisation politique du discours tenu par le militantisme ainsi que sur la fonction sociale et historique que les critiques des Cahiers du Cinéma ont théorisée en s’appuyant sur des films tels que Moi, Pierre Rivière..., Le petit Marcel, Milestones ou encore Jonas qui aura 25 ans en l’an 2000This thesis concerns the period in which the Cahiers du Cinéma applied an ideological reading to popular film. It highlights the debates and various critical theories concerning social struggles within French, Italian and American cinema from 1973 until 1978. This work analyses the articles published in the Cahiers after Serge Daney and Serge Toubiana began managing the magazine. The changes which then occurred showed an intrinsic desire to revive film criticism after a period marked by the political commitments of the editorial staff (dating back to 1968). This merging of film criticism with a militant approach was achieved through a reading of the ideological intentions hidden within popular cinema. Film was understood by the magazine as a way for the bourgeois class to normalize its conception of the world, society and history. Along with the philosophers Michel Foucault, Jacques Rancière and the historian Marc Ferro, the critics of the Cahiers would go on to refine a historiographical approach of the representation of the working-class masses. From Charles de Gaulle’s France to Valéry Giscard d’Estaing’s election and to François Mitterrand’s socialist program, the editorial staff of the Cahiers du Cinéma focused its analysis on the transformations and fractures which characterized successive governments. This work reflects on the different readings that the critics developed, regarding the editing of historical and documentary films which recorded revolutionary movements like the May 1968 events. It also looks at the way films resorted to archive images, and the political decontextualization of the militant discourse, as well as the social and historical function that the critics of the Cahiers du Cinéma theorized, drawing from films such as Moi, Pierre Rivière..., Le petit Marcel, Milestones or Jonas qui aura 25 ans en l’an 2000
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Silva, Alexsandro de Sousa e. "A filmografia de Miguel Littín entre o exílio e a clandestinidade (1973-1990)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-13112015-155507/.
Full textAbstract:
Esta pesquisa tem como objetivo analisar as representações políticas sobre o Chile na obra fílmica do cineasta Miguel Littín realizada em seu exílio político, entre 1973 e 1990. Engajado politicamente, o diretor produziu filmes no Chile e, devido à sua identificação com o governo de Salvador Allende (1970-1973), foi obrigado a exilar-se após o golpe de Estado, ocorrido em 1973. Em sua trajetória no exílio, Miguel Littín transitou por diversos países europeus e americanos dirigindo películas, participando de debates e construindo redes de solidariedades. Procuramos mostrar que essa forma de resistência a partir do exílio foi permeada por diversas tensões e divergências entre estrangeiros e exilados chilenos. Dentre as obras selecionadas para a pesquisa, analisaremos de forma privilegiada Actas de Marusia e Acta general de Chile, porque abordam a realidade chilena. A primeira foi produzida no México em 1975 e retrata um massacre de trabalhadores do salitre ocorrido no norte do Chile, no início do século XX. A segunda constitui uma série de documentários exibida pela Televisión Española em 1986 e exibe a luta social contra a ditadura de Augusto Pinochet. Procuraremos mostrar que a filmografia de Miguel Littín e sua atuação no exterior contribuem para a compreensão das lutas contra a ditadura chilena a partir de um novo ângulo, o audiovisual.This research aims to analyze the political representations of Chile in the film work of the filmmaker Miguel Littin made in his political exile from 1973 to 1990. Politically engaged, the director made films in Chile and, because of its identification with the government of Salvador Allende (1970-1973), was forced to go into exile, after the coup d\'état in 1973. During his career in exile, Miguel Littin moved between European and American countries directing films, participating in debates and extending solidarity networks. We tried to show that this form of \"resistance\" from the exile was permeated by various tensions and disagreements with foreigners and Chilean exiles. Among the works selected for the research, we will analyze in a privileged way the films Actas de Marusia and Acta General de Chile, because they represented the Chilean reality. The first was produced in Mexico in 1975 and portrait a massacre of saltpetre workers that occurred in northern Chile, in the early twentieth century. The second is a documentary series aired by Televisión Española in 1986, and displays the social struggle against the dictatorship of Augusto Pinochet. We seek to show that the filmography of Miguel Littin and its activities abroad contribute to the understanding of the struggles against the Chilean dictatorship from a new angle, the audiovisual.