Dissertations / Theses on the topic 'Cinema history'
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com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.
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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, ORegan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employedeconomic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertations text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertations emphasis on three resilient and potent signifiers of Thai identitynation, religion, and monarchyand their interrelationship and influence in the development of Thai National Cinema. These three pillars of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Sungsri, Patsorn. "Thai cinema as national cinema: an evaluative history." Thesis, Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/354/.
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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /." Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.
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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Maya, Neto Olegario da Costa. "Actualizing Che's history." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/177352.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.Made available in DSpace on 2017-07-11T04:24:15Z (GMT). No. of bitstreams: 1 346778.pdf: 2530603 bytes, checksum: 3d0f55505543aa44c64554d44dff23b6 (MD5) Previous issue date: 2017
Che Guevara é um dos ícones mais populares na pós modernidade. A figura de Che vestindo uma boina, olhando para o horizonte, representa o mito que cerca a figura de Guevara e é uma daquelas imagens facilmente reconhecidas ao redor do mundo. Morto aos trinta e nove anos de idade, ele se tornou o símbolo da rebeldia juvenil, tendo em vista que a imagem de Guevara foi associada ao Maio Francês e a pôsteres políticos. Entretanto, já que a imagem de Guevara também tem sido utilizada comercialmente, ilustrando produtos os mais diversos, é de se perguntar se Che Guevara possui ainda alguma relevância política e histórica. De fato, diversos acadêmicos ? discutidos no capítulo introdutório ? têm analisado a reificação de Che, geralmente com conclusões negativas. Eu gostaria de discordar. Nessa dissertação de mestrado, eu questiono a ideia de Che Guevara como uma imagem congelada e vazia, atualizando-a no sentido proposto por Walter Benjamin, ao considerar o processo de mitologização de Guevara e investigar a representação de Guevara em dois filmes biográficos, Os Diários de Motocicleta (Walter Salles 2004) e El Che: Investigando uma Lenda (Maurice Dugowson 1998).
Abstract : Che Guevara is one of the most popular icons in post-modern culture. The bereted image of Che gazing at the horizon is the epitome of his mythological fame and is one of those images people around the world instantly recognize. Dead at thirty-nine, he has become the face of youthful rebellion, his image associated with the 1968 uprising and with political posters. However, as Guevara's image came to be used commercially, illustrating anything from T-shirts to mugs, one wonders if there is still any political and historical meaning associated with it. In fact, several scholars ? discussed in the introductory chapter ? have raised the issue of Che's reification, usually with negative conclusions. I beg to differ. In this Master Thesis, I challenge the idea of Che Guevara as a frozen and empty image, actualizing it in the sense of Walter Benjamin, by considering the process of mythologizing Guevara and by investigating his representation in two biographical movies, The Motorcycle Diaries (Walter Salles 2004) and El Che: Investigating a Legend (Maurice Dugowson 1998).
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Faulkner, S. "Adapting Spanish literature : cinema, form, history." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598953.
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This thesis examines literary adaptation in Spanish cinema as a site for the interaction of formal questions central to the study of film and literature and ideological concerns crucial to late twentieth-century Spain. While cinematic adaptations of literary texts have previously been neglected as they seemingly dilute 'pure' cinema, or have been subjected to analyses which seek to prove the artistic superiority of literature, this study demonstrates that the literary adaptation genre can be creatively energetic and conceptually challenging by drawing examples from Spanish cinema and television of the late dictatorship, transitional and democratic periods. Given the propaganda exercise mounted through cinema under Franco, in chapter one I argue firstly that ideological issues are particularly significant in Spanish film - even though a contradictory appeal to a historical Structuralist models is prevalent in Spanish film scholarship. I contend secondly that because literary adaptation constitutes a dialogue between two media, formal issues are also inevitably raised. In chapters two, three and four I foreground ideological questions by examining three themes of particular importance to late twentieth-century Spain - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and consider the related stylistic issues of the supposed affinities between cinematic expression and nostalgia, the city and phallocentrism. In chapter five I place the formal question of the narrator centre stage by assessing Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana, and examine the ideological implications of the two artists' shared subversion of realism. Questions of history and form are therefore inseparable, and every cinematic adaptation holds in tension its influence by, or its inflection of, the ideology and form of the literary text on which it is based.
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Shand, Ryan John. "Amateur cinema : history, theory and genre (1930-80)." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4923/.
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This thesis, Amateur Cinema: History, Theory, and Genre (1930-1980), draws largely on primary material from the Scottish Screen Archive and related museum sources. The project establishes a critical dialogue between university-based Film Studies and the archive sector, via a series of case studies of influential groups, individuals, and movements. Prefaced by a chapter entitled 'Theorising Amateur Film: Limitations and Possibilities' detailing the domination of amateur cinema studies by discussion of the 'home mode', I suggest that work to date has obscured an understanding of films made by cine-clubs within the highly organised film culture of the British amateur cine movement. The main body of the thesis consists of four chapters exploring the most popular generic practices of 'institutionalised' amateur filmmakers, focusing on: art cinema, the 'film play', community filmmaking, and the amateur heritage picture. I argue that these production strands were formed by discourses circulating within amateur film journals, 'how to do it' manuals and amateur film festivals. Amateur cinema was viewed throughout as a parallel cine movement existing alongside professional practices, enjoying an ambivalent relationship to inherited professional standards. The final chapter, 'Amateur Film Re-Located', proposed a fresh theorisation of 'local' amateur production within a national film culture, marked by distinctly cosmopolitan connections.
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Grievson, Lee. "The policing of cinema, 1907-1915." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300941.
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Powell, Ryan. "Man country : a social history of seventies gay cinema." Thesis, King's College London (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549682.
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Nagtegaal, Jennifer. "(Re)animating history : animated documentaries in contemporary Hispanic cinema." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60174.
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Animation for adult audiences is a booming sector in Hispanic cinema in both fiction and non-fiction films alike. This is particularly true of the documentary genre, in which Spanish and Latin American filmmakers are employing various animation techniques to essentially (re)animate particularly traumatic periods of history. That is to say, they do the work of reconstructing or re-creating history through the cinematic practice of animation. Jairo Carrillo and Oscar Andrade’s Pequeñas voces (Colombia, 2010), María Seaone’s Eva de la Argentina (Argentina, 2011), and Manuel H. Martín’s 30 años de oscuridad (Spain, 2012) do this work of reconstructing periods of political unrest through a blending of animation and archival materials. The recent turn to animation in recounting historical narratives leads us to contemplate the purpose and effect of veering away from conventional live-action portrayals in documentary history. Accordingly, our first research question asks why and how animation is effective as a representational strategy in the re-telling of the historical moments and subjects that the films in our corpus depict. To answer this first research question, we consider the three functions of animation proposed by leading animated documentary scholar Annabelle Honess Roe (2013): non-mimetic substitution, mimetic substitution, and evocation. Beyond being linked by their exemplification of Roe’s three functions of animation, the films in our corpus all have a relationship to the uncanny that arises directly from the juxtaposition of the animated and the audiovisual archival elements. Animated film scholarship has begun to draw connections between Sigmund Freud’s (1919) notion of the ‘uncanny’ and films that combine animation and the archival. Accordingly, our second research question asks: in what ways does the ‘uncanny’ animated aesthetic in these three films manifest itself, and to what end?Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Stubbs, Jonathan. "Inventing England: representations of English history in Hollywood cinema." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441622.
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This thesis examines the representations of English history in Hollywood cinema with a particular emphasis on popular films released between 1950 and 1964. Adopting a principally empirical and archival approach, I examine why Hollywood filmmakers and audiences have been so attracted to images and narratives from English culture, why these images and narratives have so frequently focused on England's past, and why the resulting English historical films became so prominent in the 1950s and early 1960s. My first chapter establishes a broad context for Hollywood's English historical cinema by tracing the history of Anglo-American relations from the eighteenthcentury. Further contextual material is provided in Chapter Two, which examines the presence of English historical material in the American film history up to 1950. Chapter Three examines the long script development of Ivanhoe (1952) and Knights of the Round Table (1953) and the ways in which they were redrafted to suit their changing political contexts. The remaining chapters focus on the period between 1950 and 1964. Chapter Four surveys the major production trends of the period, while Chapter Five examines the connections between the English historical films and British `runaway' production. Chapter Six analyses Around the World in 80 Days (1956) in the context of postwar American internationalism, while Chapter Seven examines a more ambiguous treatment of similar themes in Lawrence of Arabia (1962). Finally, Chapter Eight looks at the construction of an ostensibly more modem image of England in Tom Jones (1963) and the first three James Bond films.I argue that American investments in the English past during the 1950s and early 1960s can be traced to three historical developments: first, the newfound acceptability of English culture as British economic and political power diminished; second, the growing resemblance between England's imperial past and America's internationalist present; and third, the efforts of the Hollywood studios to adapt to a business model where profits increasingly derived from international markets.
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Morrey, Douglas. "Jean-Luc Godard and the other history of cinema." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1303/.
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Jean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras. After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001).
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Reekie, Duncan. "Not art : an action history of British underground cinema." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2329.
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My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within. This process involves viewing the history of modem British culture not as a vague monolithic and hierarchic spectrum but rather as a distinct historical conflict between the repressive legitimate Art culture of the bourgeoisie and the radical illegitimate popular culture of the working class. In this context, Underground Cinema can be {re)defined as a radical hybrid culture which fused elements of popular culture, Counterculture and Anti-Art. However, the first wave of Underground Cinema was effectively suppressed by the irrational ideology of its key activists and the hegemonic power of the Art tradition. They disowned the radical popular and initiated an Avant-Garde/Independent cinema project which developed an official State administrated bourgeois alternative to popular cinema. My conclusion is that Underground Cinema still has the potential to become a radical and commercial popular culture but that this is now frustrated by an institutionalised State Art culture which has colonised the State funding agencies, higher education and the academic study of cinema. If the Underground is to flourish it must refuse and subvert this Art culture and renew its alliance with radical, experimental and commercial pop culture. My methodology is an holistic interactive praxis which combines research, writing, film/video making, digital design, performance and political activism. My final submission will be an open and heterodox mesh of polemic, history and entertainment. Its key components will be a written thesis which will locate this praxis within its intellectual context and a web site which will integrate my research and practice 1997-2003.
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Wolpert, Daniel Jonas. "Temporality, identity and history in German cinema, 1946-1949." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283967.
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Çaglayan, Orhan Emre. "Screening boredom : the history and aesthetics of slow cinema." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/43155/.
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This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. My original contribution to knowledge is, therefore, a comprehensive account of a global current of cultural practice that offers a radical and at times paradoxical reconsideration of our emotional attachment and intellectual engagement with moving images. The introduction chapter begins with a discussion of the Slow Cinema debate and then establishes the aims of the thesis, its theoretical framework and elaborates on the adopted methodologies, namely formal analysis and aesthetic historiography. Chapter 2 examines Béla Tarr in light of the evolution of the long take and attributes Tarr’s use of this aesthetic device as a nostalgic revision of modernist art cinema. Chapter 3 explores the films of Tsai Ming-liang, which embrace incongruous aesthetic features, envision an absurdist view of life, create humour through duration and are situated within the minimalist trends of the international film festival circuit. Chapter 4 focuses on Nuri Bilge Ceylan, whose films emerge from the aftermath of the collapse of a domestic film industry and intervene into its historical heritage by adopting fundamental features of boredom as well as transforming its idleness into an aesthetically rewarding experience. The conclusion chapter incorporates the case studies by stressing the role of Slow Cinema within the complex negotiations taking place between indigenous filmmaking practices and the demands of global art cinema audiences as well as the circulation of art films through networks of film festivals and their respective funding bodies.
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Arabi, Afif J. "The history of Lebanese cinema 1929-1979: an analytical study of the evolution and the development of Lebanese cinema /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245538861.
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Heard, Mervyn. "The history of phantasmagoria." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366617.
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Gray, Ros. "Ambitions of Cinema : Revolution, Event, Screen." Thesis, Goldsmiths College (University of London), 2007. http://eprints.gold.ac.uk/3080/.
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The thesis explored the theoretical implications of the African Revolution through an examination of its radical cinematic inventions. My research investigated points where the cinema screen became a site of radical gathering and ambitions of cinema emerged that expressed a revolutionary desire. The thesis mapped out a relational geography between different late liberation struggles of the 1970s and 1980s produced by cinema in the networks of connections lived out and constructed through radical drives. The exploration of aesthetics of liberation is the point of departure to investigate how screens, as urban surfaces of projection and reflection, appearance and masking, emerge from the world and have material and psychical effects in the world.
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Soroka, Ian Jacob. "Eroding the palimpsest : landscape, cinema and the site of history." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99303.
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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 108-113).
The thesis will explore the migration of content between forms, specifically between cinema and text. By reflexively interrogating my film Dry Country, and drawing a thread through Yugoslav film history and Slovenian history (1941-present), I will map what happens when the record of what has been captured in the film's production confronts a language, be it text or montage. The paper is a partner piece to the film Dry Country, in the process of becoming at the-time of writing, which is concerned with a forest in Slovenia as a site of memory politics originating in the Second World War, and the echoes of that event today. The paper will dig deeper into the themes, questions, and specific historical context elaborated by the film; while in its structure it will stitch a poetic juxtaposition between the process of filmmaking and the mechanism of memory, in its capture, editing, projection, and transmission between people. By combining the theoretical trinity of the dynamic landscape (architectural), the evidential paradigm of the clue (micro-historical), and the materialist dialectic (philosophical), I have found a way to come the closest, through theory, to a means of articulating my thinking about making films in and about our relationship to landscape. The text will consider these themes in an essayistic manner, unfolding through alternating voices experiencing the recording of 'memory' and questioning the supposed site of history. The text proposes that it is located neither in the mind of the individual nor in a specific site or image, but in the gaps between, as a space of translation. I propose that mapping this territory can be done by crossing the rift from different reference points, between voice and image, between site and archive. I am designing the film and the text to be isolated works, standing on their own, though ultimately in conversation with one another. My goal is to reveal the space between the film and the text as a possible trajectory of future exploration for my artistic practice.
by Ian Jacob Soroka.
S.M. in Art, Culture and Technology
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Carstocea, George. "Reality, language, and history: three facets of contemporary Romanian cinema." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12312.
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Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.The purpose of this thesis is to closely analyze some of the individual authorial voices that have emerged from contemporary Romanian cinema. Billed by the international critical establishment as a "New Wave," the recent slate of Romanian productions, while very successful on the international festival circuit, still lacks an apt conceptualization of the precise characteristics that set these new filmmakers apart, not only from other international directors, but also from one another. The analysis focuses on six recent productions: Stuffand Dough (2001), The Death of Mr. Lazarescu (2005) and Aurora (2010) by Cristi Puiu, 12:08 East of Bucharest (2006) and Police, Adjective (2010) by Corneliu Porumboiu, and The Autobiography of Nicolae Ceausescu (2010) by Andrei Ujica, breaking down the individual authorial characteristics and thematic and stylistic concerns of each filmmaker and contextualizing them within the larger history of Romanian film, as well as the trajectories of international art cinema.
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Wood, Mark. "An evaluation of the National Cinema of Wales and whether this cinema constructs or represents a national identity." Thesis, University of South Wales, 2007. https://pure.southwales.ac.uk/en/studentthesis/an-evaluation-of-the-national-cinema-of-wales-and-whether-this-cinema-constructs-or-represents-a-national-identity(a96741dc-38a9-4e46-bd51-0c980b7aa1eb).html.
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The National cinema of Wales is a contested site of representation and identity, which has struggled to overcome systemic and historic obstacles to scholarship, as well as to funding, production, exhibition and distribution of its products, related organizations, agents and services. This study considers Welsh filmic product (produced from 1963-2007), produced by independent producers for prominent broadcasting entities, including Channel Four Films, BBC Wales, S4C, or HTV/ITV Wales; a review of relevant literature regarding Welsh national cinema by Berry, Blandford, Ffrancon and others; the historical context of the Welsh film industry, was followed by an assignment of new aesthetic and industrial categories, including Welsh Coming-of-age genre films, Welsh Magical Realism, Welsh Grotesque cinema, the Welsh Chapel 'Gothic' in cinema, 'Outsider' fllmmakers in Wales, and Welsh fllmmakers in exile; the use of Welsh myths and legends in films, and how this contributes to a national identity. Consequently this study locates Welsh national cinema in a critical milieu inflected by feminist, Queer, post-colonial and national cinema analysis approaches.
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Bennett, Joy L. "From Hitler to Hollywood: Transnational Cinema in World War II." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1320957912.
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Sycher, Alexander. "The Nazi Soldier in German Cinema, 1933-1945." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428959799.
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Niehoff, Petersen W. "The First Day for Cinema: Cinematic Communities and the Legalization of Sunday Cinema." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin158315478859692.
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Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.
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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)." Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.
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Thesis (Ph. D.)--University of Wollongong, 2002.Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /." online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.
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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.
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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.
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Cetinkaya, Hande. "Before and After the Wall : A Social History of German Cinema." Thesis, Stockholms universitet, Institutionen för mediestudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105976.
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This thesis deals with the perception of the Cold War in selected German feature films. Sonnenallee (Leander Haussmann, 1999), Die Unberührbare (Oscar Roehler, 2000), Good Bye Lenin! (Wolfgang Becker, 2003), Herr Lehmann (Leander Haussmann, 2003) and Das Leben der Anderen (Florian Henckel von Donnersmarck, 2006) have been selected for a comparative analysis that focusses on narratives of the Cold-War era after reunification, and for an examination of how the social impact of German unification has been addressed in these films. In terms of methodology, the thesis uses Pierre Sorlin's social history of cinema and Pierre Nora's concept of lieu de mémoire to describe the social imagination and nostalgic representation of memories. There is a research gap in previous studies concerning how the Cold War has become a topic in recent German feature film production, and this study aims to complement those earlier works.
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Alrimawi, Tariq. "Issues of representation in Arab animation cinema : practice, history and theory." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14969.
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This practice-based research addresses the challenges that face the animation practitioner in the Arab region. In engaging with this topic it highlights the contrast with international animation producers, and also seeks to analyse how Arab animation cinema is represented and understood in the West. It introduces Arab animation history, and the animation industry as it currently exists in the Middle East. I suggest the reasons why there have been so few animated shorts and feature-length films successfully produced in the Arab world, in spite of their being a rich literary and cultural heritage. This study reveals a number of cultural, religious, political and economic issues related to Arab animation cinema, both in relation to its history and in regard to its place domestically and internationally. This research explores how YouTube and other social media became the main platform for Arab animation artists to distribute their political works during and since the 'Arab Spring' in the Middle East. The immediate consequence of this is an explosion in the exposure of Arab animation artists and their work to the world, in comparison to the very limited opportunities and freedoms of the past. Moreover, this study seeks to open up a conversation about the possibility of showing animated films that include Arabic content to Western audiences. This is complex in the sense that the place and presence of Arab animated stories are affected by how the representation is perceived within its production context and conditions of exhibition. My research will result in original knowledge, to be made available to Arab filmmakers, the Arab film industry and international academics addressing and championing animation, by engaging with conceptual questions, creating a critical practice methodology, and applying research-led practice methods.
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Grosvenor, Christopher. "Cinema on the Front Line : a history of military cinema exhibition and soldier spectatorship during the First World War." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/34733.
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This thesis – ‘Cinema on the Front Line: A History of Military Cinema Exhibition and Soldier Spectatorship during the First World War’ - provides an overview and examination of an element of British cinema history that remains largely undocumented within the disciplines of Film Studies and military history. Built upon highly original and extensive research, the thesis documents how the cinema intersected with the lives of British and dominion soldiers at practically every stage of their military career: from recruitment drives to the front line and, finally, in the convalescent hospitals and camps that attempted to rehabilitate an entire generation. By bringing this largely unknown history to light, the thesis dismantles many previously held assumptions regarding British cinema exhibition during the First World War, documenting how a significant percentage of the cinema-going public – British soldiers – still engaged with cinema entertainment outside of the commercial theatrical venue. As a study of historical exhibition, it documents the scale and orchestration of the British Expeditionary Force’s implementation of cinema entertainment on the Western front between 1914 and 1918. Significantly, it is also argued that, as a historically specific demographic, British soldiers represented an actively discerning and uniquely positioned body of wartime spectators, particularly in relation to the output of topical films and newsreels which purported to document the realities of the conflict. Accounting for this hidden history of wartime film spectatorship within extraordinary and unconventional sites of exhibition, the thesis challenges established ideas regarding the practices and concerns of film exhibitors, the behaviour and preferences of wartime audiences, and the significance and impact of the material conditions in which films were exhibited.
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Gomes, Amorim Rui Miguel. "Da Historicitaçao do cinema na(s) "Histoire(s) du cinéma" de Jean-Luc Godard." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/393978.
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La(s) Histoire(s) du cinéma ocupan un I ugar crucial en la extensa fiImografía de Jean-Luc Godard, en tanto que meditación que se desea historia sobre el cine, pero también como sumario de un conjunto de filmes en el cual el cine, la cinefilia y la actividad crítica se encuentran siempre ligadas. Esta tesis se basa en un estudio de las ocho emisiones/capítulos de la(s) Histoire(s), pero, por limitación espacial, se concentra apenas en el l a, "Toutes les histoires".
Por un lado, esta emisión releva un ejemplo inevitable de la arquitectura de la(s) Histoire(s), no solo como primera emisión, pero porque ahí se inscriben prácticamente todas las cuestiones que serán trabajadas en las siguientes emisiones/capítulos. Por otro lado, considerando la profusión de elementos de distinta orden incorporados en la emisión/capítulo la (cinematográficos, fotográficos, literarios, pictóricos), se volvió indispensable la elaboración de glosas relativas a cada uno de esos elementos, de modo a establecer un mínimo de contextualización y de aproximación a sus implicaciones.
La doble dedicatoria de "Toutes les histoires" a Mary Meerson y Monic Tegelaar inscribe, con el primer nombre, la Cinemateca Francesa de Henri Langlois como condición histórico topológica para un acceso privilegiado a la historia del cine, mientras el segundo anticipa la cuestión del productor como condición para la realización cinematográfica Esta doble condición se encuentra designada en esta tesis a partir del neologismo cinemá'eteca (f i I madreteca), es decir, un espacio de nacimiento retroactivo registrado a partir de la experiencia cinéfila En este sentido, la cuestión de la composición de la(s) Histoire(s) se encuentra así condicionada por el capital cinematográfico de Godard, o sea, medida biográfica e consecuencia del papel de la Nouvelle Vague en la historia del cine.
En el interior de esta doble condición, y a partir de lo que designamos por “para(monta)je” según algunas consideraciones de Giorgio Agamben sobre el montaje en Godard y en Guy Debord, se inscribe así una historia del cine en la cual confluye una reconsideración del siglo XX según las dimensiones del cine y de la historia. La condición en los términos de Agamben, derivada de la cuestión de las condiciones de posibilidad según Kant, presenta aún la particularidad de poderse inscribir en la historia de la crítica y en la teoría del cine, ya que, mientras Bazin, al menos en apariencia, preconizaba un “montaje interdicto”, el filósofo italiano sugiere algo como un “rodaje interdicto” (o, al menos, desnecesario). Algunas condiciones para la(s) Histoire(s) relevan en términos históricos del adviento de las cintas de video en los años 80, pero también de la inscripción fotográfica de las películas y de elementos pictóricos (por lo menos 120 películas se encuentran en la(s) Histoire(s) según una fotografía, según lo que denominamos espasaje fotográfica del cine).
A través de una aproximación hermenéutica a “À propos de cinéma et d' histoire”, discurso pronunciado por Godard em Francfort-sur-le-Main el 17 de Setiembre de 1995, por ocasión de la entrega del premio Adorno, proponemos en la Introducción la posibilidad de considerar y encuadrar el proyecto de Godard como decurrente de la denominada revolución de Copernicus, a partir de una extensa secuencia de candidatos a su continuidad inscritos entre Kant y la cuestión del cine. En esa Introducción, presentamos por primera vez los dos principios que estructuran nuestro abordaje de la(s) Histoire(s): el principio del montaje inexistente y el principio de la razón cinematográfica. Con el primero, se designa una reformulación del montaje más allá de lo que, en una crítica a Eisenstein, Godard designa por un abordaje del material cinematográfico reducido a ángulos. Para el cineasta suizo, el "verdadero" montaje proviene de una actividad de pensamiento que no se puede limitar al mero encadenamiento de planos. El principio de la razón cinematográfica, a partir de una frase de Stanley Cavell, implica la cuestión de las posibilidades y límites del cine como instrumento de registro histórico.Within Jean-Luc Godard's filmography, Histoire(s) du cinema manages to be both an expansive meditation on cinema as a privileged condition of access to both history and thought, as well as a rather unique stance of a cinematographic autobiography. This thesis is based on a study of Histoire(s) du cinema eight chapters/episodes, but, due to spatial limitations, it focuses mainly on 1 a, "Toutes les histoires". "Toutes les histoires" is a privileged means of access to the automatic architecture of Histoire(s) du cinema, not only because it is its first chapter/emission but also because it manages to condense in a quite detailed way practically all the questions that wi I I be taken up i n the fol I owi ng emissions/chapters. "Toutes les histoires" double dedication to Mary Meerson and Monic Tegelaar inscribes, through the first name, Henri Langlois' Ci nematheque Frangai se as a privileged space to Film history, while the second name announces the question of the producer as an undeniable condition to cinema as an exemplary modulation of capital. This double condition is designated throughout the thesis following the neologism dnemcieteca, that is, the cinematheque as the space for a retroactive birth according to cinephilia. Within this double condition, and following another neologism, "para(monta)je," Godard inscribes a peculiar "history of cinema" where the history of the 20th century is reconsidered as a version of his cinematographic autobiography. The condition of "para(monta)je," composed according to Giorgio Agamben's remarks on Godard's and Guy Debord's cinema as a version of Kant's conditions of possibility, can also be considered according to the history of Film Theory since, according to a certain, or even superficial, reading of Andre Bazin, there is an insistence on "interdict montage," while the Italian philosopher proposes something like a "interdict shooting" (in the sense that Film history has already enough images of its own, and now it is up to filmmakers to devote themselves to montage and editing). Through a hermeneutic reading of “À propos de cinéma et d' histoire”, a speech Godard that delivered on the 17 September 1995 in Francfort-sur-le-Main, on the occasion of the reception of the Adorno Prize, we also propose in this thesis’ Introduction the possibility of considering and framing Godard’s project as a variant of the Copernican revolution according to the two principles that structure our approach to Histoire(s) du cinema: the principle of inexistent montage, and the principle of cinematographic reason.
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Vieira, Marcelo Didimo Souza 1974. "O cangaço no cinema brasileiro." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285053.
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Orientador: Marcius Cesar Soares FreireTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O cangaço foi uma forma de banditismo social ocorrido no Nordeste do Brasil entre os anos de 1870 e 1940. Esse movimento histórico foi retratado no cinema brasileiro em épocas distintas e de diversas formas. Os primórdios dos filmes abordando essa temática foram realizados a partir da década de 1920. O cangaço se consolida como gênero, o Nordestern, nos anos 1950, quando vários filmes passaram a retratar o tema com características comuns, utilizando o western como referência. A comicidade trabalhou o cangaço de forma satírica e alguns documentários foram produzidos ao longo desses anos. Glauber Rocha, um dos expoentes do Cinema Novo, também enveredou pelo tema com filmes de caráter simbólico. Na década de 1990, alguns filmes fizeram novas leituras na ¿retomada¿ do cinema brasileiro. Enfim, foram produzidos quase 50 filmes em 70 anos, que constituem um gênero tipicamente brasileiro: os Filmes de Cangaço
Abstract: The cangaço was a kind of social banditry that occurred in the Northeast of Brazil between the years 1870 and 1940. This historic movement was portrayed in the Brazilian cinema through different periods, by diverse forms. The first films approaching this thematic were developed from 1920 decade on. The cangaço is structured as a specific genre during the 1950 years, the Nordestern, when several films started to treat the subject with common characteristics, using the western as a reference. The comic type of film considered the cangaço in a satirical way and some documentaries had been produced along these years. Glauber Rocha, one exponent of the Cinema Novo, also engaged himself in the theme streamline with films of symbolic characterization. In 1990 decade some films brought new views, within the new Brazilian cinema. Finally, about 50 films were produced in 70 years, which constitute a very particular Brazilian genre: the Cangaço Films
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Bez, Artur Sinaque [UNESP]. "A periferia de “nosotros”. O debate sobre o documentarismo na América Latina: uma análise do filme La Hora de los hornos (1968)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93329.
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Esta dissertação tem por objetivo central realizar uma analise imanente do documentário La hora de los hornos (1968), do grupo argentino Cine Liberación. Com uma proposta de cinema-militante, o filme produz determinada imagem dos povos latino-americanos, conferindo à luta política e aos movimentos sociais um caráter aglutinador dos projetos nacionalistas no continente. Aproximando-se principalmente das tendências de base do sindicalismo peronista e de ideais comuns aos movimentos ligados às esquerdas nacionalistas dos países do denominado Terceiro Mundo, La hora de los hornos realiza uma síntese de ideologias através das mensagens fílmicas. Com base nos debates da história e da teoria do cinema – particularmente do documentário – analisamos a forma como a “voz do texto” organiza algumas seqüências-chave do filme para produzir determinadas representações através das imagens e dos sons. Também analisamos documentos extra-fílmicos, como textos e entrevistas dos realizadores de Cine Liberación, nos quais pudemos encontrar suas propostas mais sistematizadas para um cinema-militante em diálogo com o conjunto de filmes e realizadores denominado Nuevo Cine Latinoamericano
The main goal of this dissertation is to do an immanent analysis of the documentary La hora de los hornos (1968), from the argentine group Cine Liberación. With a filmmilitant proposal, the movie produces a specific image from the Latin-American people, granting to the political struggle and social movements an agglutinating character of the nationalist projects in the continent. Getting close, especially, to the basis tendencies of the peronista unionism and common ideals to the movements associated with the nationalist lefts from the so-called Third World country, La hora de los hornos synthesizes ideologies through filmic messages. Based on debates from the history and film theory – particularly the documentary – the way which the “voice of the text” organizes some key-sequences in the film to produce certain representations through image and sound was analyzed. Extra-filmic documents such as written texts and interviews with the Cine Liberación directors, in which we could find their proposals for a militant cinema better systematized in connection with an ensemble of films and directors called New Latin American Cinema were also analyzed
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Pope, Andy. "The History Boys? : masculinity, memory and the 1980s in British cinema, 2005-2010." Thesis, University of Portsmouth, 2015. https://researchportal.port.ac.uk/portal/en/theses/the-history-boys(e147f773-1714-4322-9860-29255fc745f5).html.
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This study will consider the function of cinema in British society’s ongoing relationship with the 1980s. Its focus on a key period of recent British film history acknowledges popular culture’s flourishing identification with this decade, reflected through a number of media including literature, music and fashion. I argue that with seventeen films set in the 1980s and produced between 2005 and 2010, British cinema is at the centre of this retrospective, providing a unique perspective on our relationship with the era. But what are the determinants of this mediated reminiscence and what does it say about the function of cinema in rendering the past? I contend that a key aspect of this channelling of popular and personal memory is the role of the writer and director. Nearly all male and mostly middle-aged, the films’ creative agents present narratives that foreground young male protagonists and specifically masculine themes. These thematic concerns, including patriarchal absence and homosocial groups, whilst anchored in the concerns of their 1980s socio-political landscape also highlight a contemporary need for the films’ authors to connect to a personal past. Through reference to sociological, cinematic and political discourse, amongst others, this study will also consider the role of memory in these films. It will contend that the films present a complex perspective of the 1980s, highlighting an ambivalent relationship with the period that transcends nostalgia. The thematic structure of this work will allow a full analysis of the films’ relationship with key aspects of the 1980s incorporating a consideration of critically neglected texts that, I argue, demonstrate a strong mediated relationship with the 1980s. Additionally the study’s unique perspective on a specific period of the recent past and its mediation through film will ensure it has a key contribution to current thinking around the relationship between contemporary masculinity, British cinema and the 1980s.
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Tadeo, Fuica Beatriz. "In search of images : Uruguayan cinema, 1960-2010." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11417.
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This thesis investigates fifty years of Uruguayan cinema in order to revisit the relationship between cinema and nation, at a time in which transnational flows are putting into question the concept of nation and, more precisely, that of national cinema. This investigation also contributes to current discussions on the changing nature of cinema, generated by the fast adoption of digital technology and the imminent disappearance of film stock. Through the case of Uruguay, I explore the construction of national identity not only through the text, but also through the – filmic, digital and/or analogue – materiality of film. This approach incorporates aspects which are not usually studied together to contribute to the analysis of Uruguayan cinema in a manner potentially applicable to other nations with similar characteristics; that is to say, nations without an established film heritage and filmmaking tradition. Informed by writings on film, cultural, historical and archival studies, this thesis approaches films as ‘hybrid' rather than ‘pure' or ‘authentic' texts and media. I argue that both the text and materiality of films absorb, influence and reflect the dynamic processes involved in the construction of national identity. Rather than seeking for authenticity and homogeneity, this thesis stresses the necessity to focus on discontinuity and diversity. Therefore, it analyses lost and under-researched short, documentary, animation and institutional films and videos, alongside feature fiction films. First, I present a theoretical discussion on the relationship between nation and cinema, the concept of hybridity in film studies, and the importance of technology for production, preservation and access. This is followed by four chronological chapters in which the hybrid text and materiality of films are analysed in contexts of social and political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and globalisation. This thesis demonstrates that the ties between cinema and nation have not necessarily loosened in the global and digital age, and still deserve critical attention.
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Matos, Daniel Ivori de. "Serial Killers: cinema e representação." Universidade Estadual do Oeste do Paraná, 2012. http://tede.unioeste.br:8080/tede/handle/tede/1785.
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Previous issue date: 2012-02-27In this study we intend, through film analysis, to understand how the movie industry has represented the Serial Killers, discussing the aspects that compose it and that constituted diverse views on the subject. Immediately film analysis led us to reflect on representations spread over the years about the Serial Killers, for better understanding of what aspects are present in these productions and appearing in the social imaginary. To this problematization noting as cinema dialogue with the cinema itself, in addition to treating social characteristics that are actually identified as belonging to these individuals, that is, showing how the film itself through the decades approached this subject. Therefore, we propose a study of image analysis that seeks to understand how the movie industry represents some questions, thus revealing aspects that make up an imaginary cast often by violent scenes of murders that boost the attendance of crowds to theaters. In this study will seek an analysis of how serial killers are represented in film, or are prepared to note how the representations of these individuals in the social imaginary and that impacts and changes caused by the strategies of language/esthetics of narrative film, so that the film turned out to be the main reference on the subject.
Visamos nesta pesquisa, através da análise fílmica, perceber como a indústria cinematográfica representou os Serial Killers, discutindo os aspectos que o compõem e que constituíram visões diversas sobre o tema. Logo a análise fílmica nos levou a refletir a respeito das representações disseminadas ao longo dos anos frente aos Serial Killers, para melhor compreensão sobre quais aspectos estão presentes nessas produções, e que figuram no imaginário social. Para tal problematização percebendo como o cinema dialoga com o próprio cinema, para além do tratamento social das características que são apontadas como de fato pertencentes a estes indivíduos, ou seja, mostrando como o cinema por si só através das décadas abordou este assunto. Deste modo, propusemos uma pesquisa de análise de imagens que busca compreender como a indústria do cinema representa certas questões, assim revelando os aspectos que compõem um imaginário moldado muitas vezes por cenas violentas de assassinatos que impulsionam a ida de multidões aos cinemas. Busca-se nesta pesquisa uma análise de como os Serial Killers são representados no cinema, ou seja, como são elaboradas as representações destes indivíduos no imaginário social e que impactos e transformações causaram através das estratégias da linguagem/estética da narrativa cinematográfica, de modo que o cinema acabou se tornando o principal referencial sobre o assunto.
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Arslan, Savas. "Hollywood alla Turca: A history of popular cinema in Turkey." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133214001.
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Powell-Jones, Lindsay. "Deleuze and Tarkovsky : the time image and post-war Soviet cinema history." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/93276/.
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Andrei Tarkovsky (1932-1986) is remembered as one of Russia's most influential and celebrated filmmakers. Over the course of his career he released seven feature films: Ivan’s Childhood (1962); Andrei Rublev (1966, USSR release 1971); Solaris (1972); Mirror (1975); Stalker (1979); Nostalghia (1983); and The Sacrifice (1986). Drawing on a history of post-war Soviet cinema, this thesis brings his films into contact with the concepts outlined in Gilles Deleuze’s two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Deleuze's Cinema books provide a system of classifications – what he calls a taxonomy or geology – of cinematic images. While their primary focus is on Western-European and American cinema, this thesis re-conceives Deleuze’s approach to film outside of that narrow context. My approach is informed by the specific historical, cultural, and industrial contexts of Tarkovsky's films, establishing the first sustained encounter between Deleuze and post-war Soviet cinema. In doing so, I offer a fresh perspective on Deleuze’s cinema concepts by re-conceiving the division between his 'movement-image' and 'time-image' in the context of the post-war Thaw, the development of the Soviet space programme, Stagnation, and the escalation of nuclear threat following the Soviet invasion of Afghanistan.
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Levitsky, D. L. "Soviet history in Thaw cinema : the making of new myths and truths." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1389336/.
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This thesis examines the treatment of Soviet history in the cinema of the Thaw. It aims to show how Soviet filmmakers of the post-Stalin period strove to create a new master narrative in which Soviet history was represented and told in a fundamentally new way. Khrushchev’s ‘Secret Speech’ redefined the image of the Soviet past, and thus reconfigured the messages concerning Soviet identity which were to be extrapolated from it. The cinematic Thaw in Soviet culture closely followed the model of this new defining narrative, which combined cultic celebration of the Soviet founder and the revolutionary foundational myth of the Soviet State with shocking, unprecedented iconoclasm and attacks upon Lenin’s previously deified successor. For the cinematic renaissance of the Thaw was not simply about the jettisoning of the subjects, practices, and professional relationships of the pre-1953 period, and their rapid replacement with new themes relating to contemporary life and wartime humanity. It was primarily concerned with the complex, often faltering process of injecting established themes and approaches with a new humanity and ‘truth-to-life’, and combining them with the depiction both of more realistic, engaging Soviet historical characters, and of particularly damaging, difficult periods of the more recent Stalinist past. Like the ‘Secret Speech’, Thaw cinema principally looked neither to the present nor to the future, but to the past, both to a time of revolutionary heroism and to one of destructive ideological distortion, in an effort to find a new cinematic narrative which would be both celebratory and meaningful. Soviet cinema during the Thaw was thus defined by its new use and portrayal of subjects which were familiar to Soviet audiences, both from their cinema-going and real-life experience, and it was in this pioneering synthesis of historical myth and truth where the tremendous popularity of Thaw-era Soviet cinema truly lay.
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Lin, Tong (Hilary). "Ji Sor (1997): Self-Realization of Women in Cinema and in History." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1671.
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100 years ago, there was a group of women called Zishunu who stood up against the whole society and swore off marriage for life. Zishu offered an escape for many women in the Pearl River Delta area. As forerunners in female independence and liberation, Zishunu never had the chance to be the spokesman of themselves or the recognition they deserved. Ji Sor (1997), a groundbreaking work in lesbian-themed movies, beautifully depicts this special and unparalleled historical phenomenon in detail. Released a few months after the Handover of Hong Kong in 1997, this critically acclaimed movie by Hong Kong New Wave filmmaker Jacob Cheung embodies the three biggest fears of an extremely conservative society: absence of marriage, challenges to male hegemony, and homosexuality. Although seen as representatives of strong and independent women, Zishunu had to make a lot of compromises to the patriarchal culture to be allowed not to marry. The emancipation of Zishunu, although as a huge advancement in the feminism in China, is not a complete liberation. Women emancipation cannot be achieved by women celibacy. A hundred years later, we are still asking what gender equality really means, what is women’s power, what is independence, what is feminism? Through the analyses of Zishu and Ji Sor both individually and together, this thesis explores the meanings of gender equalities and sexual identities mean in the cinematic world and in the real world. There shouldn’t be a set of standards of how women should act. The right that a woman should have, just like a real women’s movie, is the autonomy to make her own decisions.
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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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Lancialonga, Federico. "Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.
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À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuient sur un même choix politique : le travail collectif en alternative à l’industrie. Un choix car, pour chacun d’entre eux, il ne s’agit ni d’un repli, ni d’une solution dictée par l’impossibilité ou l’incapacité d’accéder au circuit commercial, mais d’une décision consciente et assumée, en opposition à ce même circuit. Le titre « Contre-produire » souligne cette corrélation entre le refus des méthodes de production du cinéma « dominant » et l’adoption d’une approche collective pour en inventer de nouvelles. Les procédés hégémoniques dont il est question ne se limitent pas seulement aux normes imposées par les circuits du cinéma commercial, mais également aux formes du cinéma « dissident » qui réduisent les films à leur fonction de communication politique. L’objectif est de mettre en lumière une sélection de films, de projets, de théories et d’utopies collectives qui ont émergé à « la marge » du cinéma italien dans l’une de ses périodes les plus fécondes. Loin d’être « marginales » au sens de secondaires, elles ont constitué un laboratoire majeur de nouvelles formes cinématographiques dans l’Italie des années 1950-1970From the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s
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Pavam, Rosane Barguil. "O cineasta historiador: o humor frio no filme Sábado, de Ugo Giorgetti." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25052012-164144/.
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Herdeiro da comédia italiana de Dino Risi e Mario Monicelli, o diretor paulistano Ugo Giorgetti faz no longa-metragem Sábado um exercício de reflexão que o aproxima da tradição melancólica e autoderrisória dos escritores Laurence Sterne, Xavier de Maistre e Machado de Assis. O humor frio do diretor não nega a piada, embora prescinda dela seguidas vezes em busca da conscientização histórica de seu público para um estado de ruína social. É um filme em que os meios-tons, não a calidez cômica, evocam o abandono de comando do país, desprovido da mediação de instituições como o governo e a justiça.Heir to the Italian comedy of Dino Risi and Mario Monicelli, Ugo Giorgetti, movie director from São Paulo, reflects in his feature film Sábado the tradition of melancholy and self-derision represented by the writers Laurence Sterne, Xavier de Maistre and Machado de Assis. The cold mood director does not deny the joke, although he forgoes to it sometimes in search of an historic awareness of their audience to a state of social ruin. It is a movie in which the halftones, not the comic warmth, evoke the abandonment of running the country, devoid of the mediating institutions as government and justice.
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Souza, Tainah Negreiros Oliveira de. "A memória recriada: história e imagem em La jetée (1962) e Sans Soleil (1982) de Chris Marker." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-22092015-112745/.
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A dissertação é dedicada a analisar a relação entre História e memória na obra do cineasta francês Chris Marker, focando nos filmes La jetée e Sans Soleil. No trabalho, investigamos a concepção estética dos filmes em contato com aspectos de época que os constituem. A dissertação está dividida em três partes. A primeira dedicada a analisar La jetée e o trabalho de representação da memória feito pelo diretor em uma era de catástrofe. A segunda parte é dedicada a analisar Sans Soleil, seu caráter reflexivo e o modo como o diretor trata da temática da memória, da relação com as imagens do passado e as experiências de luta da segunda metade do século XX. A terceira parte é um estudo comparativo das duas obras e das questões que permanecem e mudam na representação da memória nos dois filmes.The research is dedicated to analyze the relation between History, memory in the cinema of the french director Chris Marker, specially the films La jetée and Sans Soleil. We investigated the aesthetics conception of films and historical aspects that influenced them. The work is divided into three parts. The first one investigates La jetée and the construction of memory representation made by the director in an era of catastrophe. The second part is dedicated to analyze Sans Soleil, its reflective nature and the way the director treats the theme of memory, the relation with images of the past and the social mobilizations experiences of the second half of the twentieth century. The third part is a comparative study of the two films and the issues that remain and change in the representation of memory.
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Polirsztok, Marion. "Le spectacle des siècles dans le cinéma muet américain : d'Intolérance à Noah's Ark (1916-1928)." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080003.
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Entre 1916 et 1928, un certain nombre de films muets américains expérimentent les formes complexes d’un assemblage ostensiblement articulé entre un ou des récits situés dans le passé (historique, antique ou biblique) et un récit situé à l’époque moderne. Nous avons appelé cet assemblage le « Spectacle des Siècles », suivant la formule publicitaire rencontrée sur l’affiche d’un de ces films, Noah’s Ark (M. Curtiz, 1928). Les films du Spectacle des Siècles ne se confondent pas avec les films historiques ou bibliques également mis en scène dans le cinéma muet, et qui supposent une action unique et une diégèse centrée autour de la période reconstituée. Les films étudiés font dialoguer passés et présents en relatant une multiplicité d’époques, de décors, d’actions et de personnages. Cette recherche se propose de mettre en lumière outre la variété des contenus, les diverses solutions d’assemblage élaborées par ces films pour aboutir à l’harmonie d’une œuvre cohérente. Les formes originales imaginées par les cinéastes font apparaître les multiples passages, transferts et métamorphoses de ces parallèles entre le passé et le présent, l’ancien et le nouveau. Elles interrogent ce que les films ont à dire sur leur siècle, en instaurant un présent démultiplié et orienté vers de nouvelles promesses. Ainsi les films du Spectacle des Siècles donnent à lire un moment de l’histoire du cinéma muet américain qui connut une brève période d’activitéBetween 1916 and 1928, some American silent films are in search of putting together one or several stories set in the past (historical, ancient, biblical) and one story set in the modern times, thus displaying complex cinematic forms conspicuously articulated. We called this assembling the « Spectacle of the Ages », according to the advertising formula encountered on the poster of one of these films, Noah’s Ark (M. Curtiz, 1928). The films of the Spectacle of the Ages are not to be confused with biblical or historical films – also produced in silent cinema – which assume a single action and a diegesis focused on the reenacted period. The films we are to sudy here confront the past with the present, by telling multiple ages, sets, actions and characters. Beyond the variety of these stories, this research aims to highlight the various assembling solutions created by the filmmakers to achieve a coherent and harmoniously shaped work of art. These cinematic forms show various passages, translations, metamorphosis of the parallels between the past and the present, the old and the new, thus revealing something of their Age and of a promising future. We perceive in the Spectacle of the Ages a short-lived moment in the history of American silent cinema
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Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.
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La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastiqueThis thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
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Knight, Claire Alice Jean. "Soviet cinema of the late Stalin era, 1945-53." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708213.
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Peabody, Seth. "Environmental Fantasies: Mountains, Cities, and Heimat in Weimar Cinema." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467382.
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This dissertation analyzes filmic environments within Weimar cinema and argues for a concept of Heimat in which the landscapes of modernity are embedded into the environments of home. Mountain films such as Der heilige Berg enact a visual mechanization of the Alpine landscape; industrial films such as Sprengbagger 1010 constellate pastoral and modernized scenes in a similar fashion to contemporary Heimat club journals; and urban films such as Menschen am Sonntag reveal the ways in which the city figures as Heimat within Weimar film. Further, film journals display contradictory discourses surrounding Heimat before the standardization of idyllic rural scenes in the postwar Heimatfilm genre.
These filmic environments interact with the real-world environment in complex and multi-directional ways. They participate in the development of new ways of seeing, marketing, and using the environment and function as nodes within sociopolitical debates regarding human communities and physical landscapes. These findings complicate arguments made by environmental historians who have claimed that the German notion of Heimat, encompassing both natural and cultural elements, might offer a useful alternative to the essentialism of the American wilderness ideal. In fact, the image of Heimat as a rural nature-culture hybrid, at least within film, only became dominant in the Nazi era. Within Weimar cinema, the term Heimat represents the focal point of a much more diverse and open discussion of environmental values.Germanic Languages and Literatures
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.East Asian Languages and Civilizations
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Romanato, Daniella. "A história da roupa e da moda estudada pelos figurinos cinematográficos = The history of clothing and fashion studied film costumes." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284539.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa pretende discutir a metodologia de ensino de história da roupa e da moda através do cinema. É pacífico que se aprende por observação e que o cinema exerce fascínio desde seu surgimento. Também é sabido que filmes apresentam figurinos, que nem sempre são roupas fiéis a uma época, mas, mesmo assim, estas podem ser a melhor forma de aproximar o aluno do contexto de uma determinada época, para que ele seja capaz de entender o porquê da adoção de determinados costumes e roupas em seu cotidiano
Abstract: This study discusses the methodology of teaching the history of clothing and fashion through cinema. It is undisputed that is learned by observation and fascination that cinema has since its inception. We also know that movies have costumes, clothes that are not always faithful to the era, but even so, they may be the best way to approach the student in the context of a particular time, that he may be able to understand why the adoption of certain customs and clothes in their daily lives
Mestrado
Multimeios
Mestra em Multimeios