Dissertations / Theses on the topic 'Cinema study'
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Delgado, Benjamin Fernando. "The Cinema is Dead. Long Live the Cinema: A Multiple Case Study of the Connection Between Community and Transitional Cinemas." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372777410.
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Jeknavorian, Michael. "The Pessimism of Horror Cinema: A Comparative Study Between Modernist and Postmodernist Horror Cinema." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/2029.
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This qualitative thesis examines levels of pessimism as they relate to modern and postmodern horror cinema. Beyond assumed differences in levels of pessimism between the two genres, the study also examines implicit and explicit moralization of these categories. Specifically, the study questions if postmodern horror cinema's characteristic increase in pessimism is simply a change in the genre's convention, yet a change that is irrespective of either genre's capabilities to moralize. First, the study singularly examines the conventions of each genre as it relates to levels of pessimism. Second, the study discusses works that bridge the two genres. And third, the study speculates on the future of pessimism in postmodern horror cinema, specifically examining the genre's increased reliance on a combination of narrative and documentary techniques. In addition, this study uses content analysis as its methodological framework, whereby representative works of horror cinema (the data) are subjected to in-depth personal reading and textual analysis given the levels of pessimism between the two genres (the coding) via text immersion. Nonetheless, this study should be viewed more as a guided and informed exploration of certain characteristics regarding the genres and less of a defense since the data will not be quantified.
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Guida, Marino Giorgio. "Producing Kafka : case study, cinema and theory." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616164.
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Jeknavorian, Michael. "The pessimism of horror cinema : a comparative study between modernist and post-modernist horror cinema." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003115.
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Bermudez, Pilar Aurelia. "The Social Impact of "Brokeback Mountain:" A Reception Study." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/125.
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The film "Brokeback Mountain" was released in December of 2005 into mainstream theaters and to general audiences. Director Ang Lee, screenwriters Diana Ossana and Larry McMurtry, and actors Heath Ledger and Jake Gyllenhaal made this film in which the storyline revolves around two men falling in love and how this forbidden love would affect the rest of their lives. The shock of having a film with two men kissing and having sex in the theaters seemed to have struck a nerve with many viewers. Some were very positive, hailing the film as a new step in mainstream films to show a queer relationship, others were negative, criticizing the film even at times condemning what was shown on the screen. The impact of the film made debate and conversations about queer content available to a public forum, in this case newspapers from around the country.
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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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Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.
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As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.
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Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.
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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.
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Conway, Madeline Ruth. "Representing difference : a study of physical disability in contemporary Spanish cinema." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368909.
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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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Ballands, James. "Terence Davies and the cinema : an intertextual study of his films." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/13163/.
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This thesis examines the oeuvre of the British filmmaker Terence Davies between 1976 and 2011. Overall, his work from this period can be separated into two distinct categories: autobiographical films and literary adaptations. Whereas previous critical works on this writer-director have often framed him as an auteur due to the considerable creative control that he exerts over his films, this thesis problematizes such a reading by situating his body of work within a larger intertextual field. Within this field, I include other films, literary texts and pieces of music, in order to explore how other cultural influences have been channelled into Davies’s filmmaking. I also explore the idea that his memories of growing up in Liverpool – particularly during the 1950s – constitute another intertext within his autobiographical films. Similarly, I demonstrate how considering the creative input of his key collaborators – including producers, cinematographers, editors and production designers – illuminates both Davies’s approach to filmmaking and the dense construction of his films as texts. Unlike other critical writings on Davies’s career, my thesis considers the audience’s engagement with his films and the readings they generate from them. This thesis adopts a multi-disciplinary approach to Davies’s films by engaging with various branches of study within the arts, including post-structuralist theory, autobiographical studies, adaptation studies, music theory, auteur theory and production studies. Furthermore, this thesis includes insights that have been gathered from eighteen original interviews with individuals involved in the making of Terence Davies’s films – including one with the filmmaker himself.
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Ashton, Romana, and darkroom@optus com au. "Antipodean Gothic Cinema: A Study of the (postmodern) Gothic in Australian and New Zealand Film since the 1970s." Central Queensland University. Humanities, 2006. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20060921.111449.
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Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994).
Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema.
In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility.
In its conclusion, the study finds that Antipodean Gothic cinema, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms.
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Haslam, Michael Francis. "Cinemaplex Over the Pavese: An Architectural Response to the Question of Looking at Territory." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/31498.
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This thesis describes one individualâ s contribution to a larger effort, an exploration that involved some thirty-two other students from the Accademia di Architettura in Mendrisio, Switzerland. Our shared task was to study a bucolic agrarian region of Northern Italy and propose a strategy for its development. All projects ultimately included in the Atelierâ s vision were to have a significant strategic value to the territory, resonating with and magnifying the landscapeâ s existing qualities. They were to intensify its complex identity without further complicating it. Included in this document are the authorâ s initial impressions of the region as recorded over a series of visits to the place as well as a reaction to these impressions, an architectural response in the form of a cinema multiplex over the Pavese and its fields.Master of Architecture
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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2021. http://d-nb.info/1224966783/34.
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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2020. http://d-nb.info/1228861579/34.
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Scott, Walter Paul Jason. "Discourses recognizing aesthetic innovation in cinema : Bonnie and Clyde : a case study." Thesis, Sheffield Hallam University, 2004. http://shura.shu.ac.uk/20337/.
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Within this thesis I primarily explore the notion of aesthetic innovation in the cinema. Whilst I initially intended to develop two case studies, considering films associated with two cinematic trends - the Hollywood Renaissance and Dogme 95 -the finished thesis concentrates on Bonnie and Clyde, which exemplifies the first of these. The focus entails an elaboration of the concept of innovation, adopted from economic approaches, in terms of the implications of the concept for how innovation should be analysed. In particular, this informs my focus upon the articulation of recognition of innovation, and hence discourses of innovation. In investigating the recognition of innovation in Bonnie and Clyde, I provide a detailed critical reception study, analysing the contemporary and retrospective reviews and critical accounts of the film. I develop the functional and systemic linguistic analysis of M.A.K. Halliday to underpin a workable discourse analysis approach to the contemporary reviews. I also consider the wider reception of the film, particularly in relation to the dialogues around the reviews of the film by Bosley Crowther in the New York Times. Thus, I consider the significance of the contestation around the film - in terms of its evaluation, classification and description. I consider this 'event' of the widespread contestation around the film, and the turnaround by several noted critics, and contrast the conclusions of my analysis of the event with the conventional narrativization of it. In order to consider the aesthetic characteristics of the film, I provide definitions of cinema aesthetics, adapting the notions of aesthetic norm, function and value from Jan Mukarovsky. I also develop these in relation to the concept of aestheticization, which I relate to Bonnie and Clyde and other films of the Hollywood Renaissance. The thesis constitutes an original elucidation of the notion of innovation, and an innovative application of discourse analysis to reception study.
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Connelly, Marie Katheryn. "The films of Martin Scorsese: A critical study." Case Western Reserve University School of Graduate Studies / OhioLINK, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=case1055439576.
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Heine, Erik James. "Musical recycling: A study and comparison of Ralph Vaughn Williams' film score for "Scott of the Antarctic" with "Sinfonia Antartica" (Symphony No 7)." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/291954.
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This thesis discusses two aspects of Vaughan Williams' 7th Symphony. Comparison of Sinfonia Antartica and the film "Scott of the Antarctic" reveals that the symphony is a direct derivative of the film score and that the symphony contains no original motivic material of its own. Only minor changes to the film score, such as chronology, orchestration, extensions, and the like, were necessary to rework the material into its symphonic form. The second aspect under discussion is the symphony's harmonic language. The problem with the harmonic content is that the relationships between chords do not follow functional harmonic procedures. However, the harmonic materials used in this symphony can be illuminated through analysis techniques found in the writings of Ernst Kurth, an early twentieth century theorist and specialist in Romantic music.
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Nicoli, Letizia Osorio. "A expressão da criança no documentário "Promessas de um novo mundo" : um estudo de caso." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284553.
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Orientador: Antonio Fernando da Conceição PassosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho se propõe a abordar a expressão da criança no documentário cinematográfico contemporâneo, a partir do estudo de caso do filme Promessas de um Novo Mundo (Promises), de B.Z. Goldberg e Justine Shapiro, lançado em 2001. Situando o documentário em um contexto de produção documental dedicada ao tema da criança, a pesquisa ressalta o modo particular como os realizadores do filme analisado concebem a criança como sujeito em seu trabalho e, consequentemente, compreendem e interpretam sua fala, respeitando suas aptidões mentais e intelectuais. Uma vez que o interesse do estudo se volta para a enunciação da criança, sua prontidão ao se manifestar sobre questões concretas ou abstratas, bem como a forma como interage com os outros e com o diretor durante as tomadas, são vistas sob a luz da teoria piagetiana e dos estudos sobre desenvolvimento moral de Kohlberg e Habermas. Com essas reflexões, espera-se demonstrar o diferencial que Promessas de um Novo Mundo estabelece ao apresentar o discurso da criança como tão complexo e coerente quanto o de qualquer sujeito-enunciador adulto
Abstract: The present dissertation approaches the child's expression in the contemporary cinematographic documentary, through the case study of de film Promessas de um Novo Mundo (Promises), by B.Z. Goldberg and Justine Shapiro, launched in 2001. By situating the film in a context of documentary productions dedicated to the theme of the child, this reseach emphasizes the very particular way in which the filmmakers, in this documentary, perceive the child as a subject in their work, and consequently understand and interpret its speech, respecting its mental and intelectual aptitudes. Since this study's interest is predominantly focussed on the child's enunciation, its promptness in manifesting itself on concrete and Abstract matters, as well as its interaction with others and with the diretor during the shooting, are analysed under the lights of piagetian theory and the studies of moral development by Kohlberg and Habermas. With these reflections, the dissertation expects to demonstrate the differential established by Promessas de um Novo Mundo in presenting the child's speech as being as complex and coherent as the one of any adult enunciating subject
Mestrado
Multimeios
Mestre em Multimeios
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Salonius, Lieff. "Foreign funding and national cinema, a case study of the Irish Film Industry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq24617.pdf.
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Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.
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Yau, Suk-ying Shirley. "Where has all the horror gone? : a study of horror in contemporary cinema /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B42575175.
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Graça, André Rui. "A study on the commerce, circulation, and consumption of Portuguese cinema (1960-2010)." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10024621/.
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This thesis proposes an articulation between the history of Portuguese contemporary cinema and broader political and social variables. Thus, the main purpose of the present thesis is to follow and understand the evolution of Portuguese cinema in the period between 1960 (the beginning of the decade of the New Cinema movement) and 2010 (the year of the height of the economic crisis that suddenly left the country in a difficult position), from a socio-cultural and economic perspective. Paying especial attention to post-1974 decades, this project provides an overview of the last 40–60 years and looks in depth at the identity of Portuguese cinema and the reality(ies) in which it has been inserted. This is a work on the development of this cinema, within and outside its national borders, in which the object of study is not a corpus of films (when understood as aesthetic objects), but rather its market context, as well as a political and social situation. It falls within the scope of this thesis to look further into the reasons for the real and the symbolic absence of Portuguese cinema from the national and European contexts, along with its commercial problems. Three vectors of analysis will guide this research: relation with audiences; circulation and problems with distribution; and financial struggles. The driving force of this research project is fueled by the interest in addressing the historical difficulties that Portuguese filmmakers faced during this period in order to understand the origin and characteristics of those obstacles. Indeed, this work aims to identify, debate and clarify the reasons that influenced the evolution of aesthetics and determined the precarious situation in which Portuguese cinema found itself during the past decades. This thesis also analyses cases of success, in order to understand the broader frame from a holistic perspective.
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Holohan, Conn. "Identity, Space and Nation: A Comparative Study of Contemporary Irish and Spanish Cinema." Thesis, Ulster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487711.
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This thesis adopts a comparative approach to the study of Irish film, establishing shared cultural characteristics which have existed within twentieth century Ireland and Spain, and tracing the effects of these nationally specific characteristics into the representational strategies of recent Irish and Spanish cinema. In such a way it accounts for the specificities of Ireland's social and cultural experiences whilst situating Ireland's historical development in a European context. It traces the demise of an insular Catholic-nationalism as the dominant ideology within Ireland and Spain, examining the effects of this on representations of contemporary life within their national cinemas. One of its central arguments is that this demise has left a problematic relationship to power within both cultures as previous power structures are rejected within the process of modernisation. The effects of this are traced into the representations . of state and pareo/al authority within recent Irish and Spanish cinema. Other effects of the shift in values within both cultures include the focus on a mobile sexuality as a symbol of the modernised nation and a move from the rural to the urban as the paradigmatic space of national life.
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Trowbridge, Hayley. "From the cinema screen to the smartphone : a study of the impact of media convergence on the distribution sector of American independent cinema 2006-2010." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2010341/.
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Film distribution has undoubtedly changed during this contemporary era of media convergence, with a range of innovative practices and methods being adopted across US film and the arrival of new organisations to the industry and distribution sector. This should not suggest that conventional distribution and marketing methods are extinct, or that the traditional gatekeepers of these fields are obsolete. Rather it should indicate a merging of old and new strategies, practices, methods, and organisations, and it is through this fusion of tradition and novelty that today’s complex distribution landscape has emerged. At the forefront of many of these changes has been American independent cinema and as such, the central question posed by this thesis is: how has media convergence impacted on the distribution and marketing of American independent cinema, and how can this impact be understood in terms of wider technological, industrial and sociocultural contexts relevant to the current media landscape? In answering this, this thesis provides a comprehensive re-mapping of the distribution sector of American independent cinema, in terms of the distributors involved and methods and strategies through which films are being released, within this contemporary era of media convergence. This thesis uses the concept of media convergence as a complex and multifaceted lens that has dimensions in the technological, industrial and sociocultural realms, through which recent innovations in film distribution and marketing can be examined. Underpinning this framework is the adoption of an approach informed by the emergent media industry studies agenda (Holt and Perren, 2009; Hilmes, 2013; and McDonald, 2013). The implementation of this converged method to understanding media industries has allowed for a fluid, diverse and multi-layered assessment of the area under examination. Specifically, the thesis uses Thomas Schatz’s (2009) macro and micro level framework to examining film industries in order to identify key trends and industrial practices within American independent cinema (and, to a degree, US film at large), exploring how they relate to specific films, filmmakers and companies, within a distribution context. From this a number of key findings have emerged, including: • The identification of a new industrial structure that has facilitated a form of re-conglomeration of parts of the American independent cinema that is similar to the co-option of American independent cinema in the late 1980s and early 1990s. • The identification of new, collaborative distribution and marketing strategies being used within American independent cinema that not only seek to connect films with consumers, but also involve them, to varying degrees, in related processes. • An outline and discussion on how changes within the distribution sector have impacted on film form and consumption practices evident in this era of convergence. The thesis provides original contributions to knowledge in the fields of American independent cinema and distribution studies at large by: reconceptualising what independent film is within this contemporary period of media convergence; reframing discussions on film distribution to be more inclusive and less elitist in their scope; providing new methodological approaches to understanding the wider workings of film distribution and marketing; and demonstrating how distribution studies can be utilised to understand innovations within the fields of film production and exhibition.
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Ernst, Priscila. "Cinema e ensino: a produção de cinema de animação para o ensino de ciências por meio do enfoque Ciência, Tecnologia e Sociedade (CTS)." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2723.
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Acompanha: Guia didático: cine animação na escolaEste trabalho apresenta a análise e os resultados de um estudo desenvolvido com alunos de uma turma de 7º ano de um colégio estadual público de São João do Triunfo - PR, Brasil, em relação ao tema Cinema e Ensino. O objetivo da pesquisa foi verificar as contribuições de se ensinar Ciências (conteúdo de vírus e bactérias) em um enfoque CTS - Ciência, Tecnologia e Sociedade; visando a Alfabetização Científica e Tecnológica - ACT, utilizando como estratégia didática a produção de Cinema de Animação com a técnica Stop Motion. O Stop Motion é um processo de animação onde é feita a captação de fotograma a fotograma, usando uma máquina fotográfica e uma fonte de luz. A abordagem metodológica foi qualitativa de natureza descritiva com observação participante. Durante o estudo os alunos e a professora de Ciências da turma, participaram de aulas de Ciências com enfoque CTS, pesquisas sobre os temas abordados e oficinas de produção dos vídeos. Os alunos criaram personagens a partir de materiais como massa de modelar, desenhos, recortes de revistas e pequenos objetos, para dar vida e movimento nas animações. Os principais autores que fundamentam esse estudo são: Lorenzetti (2000), Gowdak; Martins (2015), Bazzo (2014), Silveira (2005), Santos e Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) e Duarte (2009). Ao final do estudo, observou-se que a pesquisa trouxe contribuições para a Educação em Ciências e a promoção da Alfabetização Científica e Tecnológica. Os alunos demostraram mais segurança para falar sobre o tema abordado, mostrando interesse e motivação. Também se percebeu que os alunos analisaram os assuntos discutidos durante as aulas de Ciências de forma mais crítica, fazendo questionamentos e relacionando o conteúdo estudado com suas próprias vidas. Os estudantes se preocuparam com questões como: o surgimento das vacinas, as doenças negligenciadas no país, bactérias na produção de plástico, alimentos que ajudam na imunidade do corpo, entre outros assuntos de relevância para o processo de reflexão e desenvolvimento do senso crítico dos mesmos.
This paper presents the results the study developed with students of the secondary education in a group of the 7th grade of a public school in São João do Triunfo - PR, Brazil, in relation to the theme Cinema and Teaching. The aim of of the research was to verify the contributions of teaching Science (content virus and bacteria) in a STS approach - Science, Technology and Society, aiming at the Scientific and Technological Literacy, using as a didactic strategy the production of Animation Cinema with the Stop Motion technique. Stop Motion is an animation process where frame-by-frame capture is performed using a camera and a light source. The methodological approach was qualitative of a descriptive nature with participant observation. During the study the students and the classroom science teacher participated in science classes with a STS approach, Research on the topics covered and workshops for the production of videos.The students created characters from materials like modeling mass, drawings, magazine clippings and small objects, to give life and movement in the animations.The main authors that base this study are: Lorenzetti (2000), Gowdak, Martins (2015), Bazzo (2014), Silveira (2005), Santos and Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) and Duarte (2009). At the end of the study, it was observed that the research brought contributions to Science Education and the promotion of Scientific and Technological Literacy. The students demonstrated more confidence to talk about the topic addressed, showing interest and motivation. It was also noticed that the students analyzed the subjects discussed during the science classes in a more critical way, questioning and relating the content studied with their own lives. Students are concerned with issues such as: the emergence of vaccines, diseases neglected in the country, bacteria in the production of plastic, foods that help immunity of the body, among other issues of relevance to the process of reflection and development of the critical sense of the same.
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Katjavivi, Perivi John. "Film and national culture in Namibia: a study and analysis of how the films 100 Bucks and Try have contributed to the creation of post-colonial identity and national culture in independent Namibia." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22784.
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I wish to present a study of the different literature regarding national culture, African cinema and postcolonial identity and explore how it relates to local cinema in Namibia. How have Namibian films contributed to this debate? The films 100 Bucks and Try contributed to the creation of postcolonial identity and national culture in independent Namibia. This dissertation will focus primarily on the aesthetics, themes and stories produced in Namibia since 2000 as well as how our storytelling and funding models can learn from other industries throughout the world. I will undertake an examination of past works and writings on the topic of national culture in post colonial African states, nationalism and African identity.
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Haciomeroglu, T. Nihan. "Reconstruction Of Architectural Image In Science Fiction Cinema: A Case Study On New York." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609545/index.pdf.
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This thesis interrogates the interrelation between architecture and science fiction cinema to understand the fictional and representative power of architecture. Since cinema embraces both physical and representative aspects of architecture it is convenient to carry out the research through the mediation
of cinema. To accomplish this goal science fiction genre is particularly chosen where architectural image can break its commonly acknowledged facet and can reconstruct to participate in the narrative. The architectural image is intended to be interpreted through the concept of city and architectural components in science fiction cinema.
To create a mutual language, a world wide known city –
New York City &
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is selected as the case study subject
that the research is developed upon. Initially the study is based on the discussion over cinema architecture relationship from an architect&
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s point of view. Subsequently architectural image in architecture and cinema is studied under several categories. Twenty four science fiction movies with various plots are chosen where all the movies are either located in New York City or in a fictional city inspired by it. By analyzing these movies through architectural concepts it is aimed to gain understanding to key points in architectural design.
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Koven, Mikel J. "An ethnography of seeing : a proposed methodology for the ethnographic study of popular cinema /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0006/NQ42479.pdf.
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Wang, Xiaofei. "Technological change and production location in the movie industry a study of genre trends in 7 countries /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378392.
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Thesis (Ph.D.)--Indiana University, Dept. of Telecommunications, 2009.Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3688. Adviser: David Waterman.
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Liu, Di. "A cultural study of the relationship between Music and Image in Chinese Cinema : 1966-1991." Thesis, University of Ulster, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529574.
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Mitchell, Jane Elizabeth. "Representation of change and gender identity : a study of women in Egyptian cinema 1959-1998." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424953.
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Apprich, Franziska-Maria. "Film-sound as art : a study of sound in cinema presented in theory and practice." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.
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Carvalho, Sofia Briz. "O caminho do cinema português: à procura da identidade nacional. Case study – a guerra colonial." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/7305.
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Silva, Junior Nelson. "Ciência e cinema: um encontro didático pedagógico em Anjos e Demônios e O Nome da Rosa." Universidade Tecnológica Federal do Paraná, 2018. http://repositorio.utfpr.edu.br/jspui/handle/1/2998.
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Acompanha: Ficha instrumental para o uso de filmes em sala de aulaO Cinema enquanto forma de representar e perceber o mundo e o homem, além de importante linguagem artística, tornou-se elemento determinante para a comunicação de massa do século XX. Como tal passou a se apropriar das diferentes áreas do conhecimento, no intuito de criar roteiros e narrativas que aproximassem a poética artística cinematográfica dos fenômenos cotidianos da natureza e da existência humana, aproximando a Arte Cinematográfica de uma suposta realidade. Essa relação permite a criação de filmes que, além do puro e simples entretenimento, possibilitam o seu uso nas mais diferentes formas de aprendizagem. A partir dessa perspectiva, essa pesquisa teve como principal objetivo, desenvolver e apresentar uma proposta, na qual o Cinema de entretenimento, se configure como um instrumental para o ensino de Física e da História da Ciência. Para tanto foram utilizados os filmes Anjos e Demônios (Angels & Demons - 2009) e O Nome da Rosa (The Name of the Rose - 1986), filmes de entretenimento, sucessos de público e que apresentam entre seus temas principais a História da Ciência e as relações entre Ciência e Religião. Cada um dos filmes trabalha narrativas que envolvem o Conhecimento Científico. Essa pesquisa propõe que o Cinema seja entendido em sala de aula como uma linguagem artística, com suas especificidades e não como uma simples forma complementar para um tema ou um conteúdo. Nossa proposta está centrada numa análise fílmica que apresenta a obra cinematográfica como um instrumento de aprendizagem da Ciência, em especial, da História da Ciência. Assim, metodologicamente, a pesquisa ocorreu a partir de dois eixos principais: a análise fílmica a partir da teoria apresentada por Erwin Panofsky em seu livro Significado nas Artes Visuais (2007), denominado metodologia panofyskiana, iconológico ou histórico social e o estudo historiográfico na História da Ciência, apresentado pelo professor Ubiratan D’Ambrósio (2004). A pesquisa contribui, de forma inédita, para que o Cinema ou filmes feitos para o Cinema, possam ser entendidos como linguagem artística que possibilita aos atores envolvidos num processo de Ensino e Aprendizagem, usufruir dos recursos dessa linguagem como instrumento didático pedagógico para as aulas de Física ou Ciências.
The Cinema as a way of represent and perceive the world and the man, besides important artistic language, became determining factor for mass communication of the twentieth century. As such, it started appropriate of the different areas of knowledge, in order to create scripts and narratives that approximate the cinematographic artistic poetics of the everyday phenomena of the nature and human existence, approaching the Cinematographic Art of a supposed reality. This relation allows the creation of movies that, besides of pure and simple entertaning, make it possible to use them in different forms of learning. From this perspective, this research had as a main purpose, develop and submit a proposal in wich the entertainment Cinema be an instrument of teaching Physics and the History of Science. For this purpose, the movies Angels and Demons (2009) and The Name of the Rose (1986), entertainment movies, audience hits that present among their main themes the History of Science and the relations between Science and Religion. Each one of the movies works narratives that involve the Scientific Knowledge. This research proposes that the Cinema be understood in the classroom as an artistic language, with their specificities and not as a simple complementary form to a theme or a content. Our proposal focuses on film analysis that present the cinematographic work as a Science learning tool, in particular, the History of Science. So, methodologically, the research occurred from two main axes: the film analysis from the presented theory by Erwin Panofsky in his book Meaning in the Visual Arts (2007), denominated Panofsky method, iconological or social history and the historiographic study in the History of Science, presented by the professor Ubiratan D’Ambrósio (2004). The research contributes, in a inedited way, so that the Cinema or movies made to the Cinema can be understood as an artistic language that make it possible to the subjects involved in the process of Teaching and Learning to use the resources of language as pedagogical and didactic instrument for the classes of Physics or Sciences.
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Candéo, Manuella. "Alfabetização Científica e Tecnológica (ACT) por meio do enfoque Ciência, Tecnologia e Sociedade (CTS) a partir de filmes de cinema." Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/1435.
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Produção técnica disponível em: https://sites.google.com/site/actpormeiodefilmes/A educação escolar deve ir além dos ensinamentos básicos, e é preciso que as escolas e universidades formem cidadãos capazes de compreender as relações sociais da ciência e da tecnologia. Por este motivo, o presente trabalho propõe a utilização de filmes para trabalhar com estudantes do ensino médio e técnico à luz dos pressupostos teóricos e filosóficos do enfoque CTS (Ciência Tecnologia e Sociedade). Sob uma abordagem metodológica qualitativa de natureza interpretativa, analisa-se e se interpretam o objeto de estudo: filmes como estratégia de ensino para a promoção da ACT (Alfabetização Cientifica e Tecnológica). A análise do objeto é analisado indutivamente. O estudo foi desenvolvido em duas etapas: 1- seleção de filmes, análise e elaboração do roteiro, que faz parte do produto pedagógico desta dissertação, elaborado pela pesquisadora; e 2- aplicação com professores participantes do PARFOR (O Plano Nacional de Formação dos Professores da Educação Básica) O ambiente imagético foi a fonte direta para a coleta de dados e o pesquisador foi o mediador. Utilizou-se o filme como texto, imagem e som e buscou-se apresentar os estudos que os justifiquem como estratégia de ensino e aprendizagem na sala de aula e que proporcionem reflexões sobre as relações sociais da ciência e da tecnologia. Os principais resultados evidenciaram que utilizar filmes de cinema é uma estratégia de ensino eficiente para trabalhar com o enfoque CTS.
School education must go beyond the basic teachings, and it is necessary for schools and universities to form citizens capable of understanding the social relations of science and technology. For this reason, this work proposes the use of films to work with high school students and technical staff in the light of the theoretical and philosophical approach STS (Science Technology and Society). From a qualitative approach of interpretive nature, we analyze and interpret the object of study: film as a teaching strategy for the promotion of ACT (Scientific and Technological Literacy) . The analysis of the object is analyzed inductively. The study was conducted in two stages: 1 - movie selection, analysis and preparation of the script, which is part of the educational product of this dissertation, prepared by the researcher , and 2 - application of the participating teachers PARFOR ( The National Teacher Training Basic Education ) the environment of the images was the direct source for the data collection and the researcher was the mediator . We used the film as text, image and sound, and sought to present the studies that justify as a strategy for teaching and learning in the classroom and providing reflections on the social relations of science and technology. The main results show that using feature films is an effective teaching strategy for working with the CTS approach.
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Akcay, Aysegul. "The Architectural City Images In Cinema: The Representation Of City In Renaissance As A Case Study." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609699/index.pdf.
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The aim of this study is to understand the limits of spatial transformations of
architectural images in cinema. In this exposition the architectural city images
are analyzed with referenced to case study by reading the representation of space and city in model film Renaissance which in the city becomes notion. The interaction between architecture and cinema is discussed by using concepts
such as space, time, perception, framing, editing and continuity in addition to their relations with future cities and spatial designs in these worlds.
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Xu, Meimei [Verfasser]. "Cinema in China prior to WWI : A Case Study of West-Eastern Culture Transfer / Meimei Xu." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2020. http://d-nb.info/1221488015/34.
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Hanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.
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Aguilera, Paulina. "Veg-gendered| A cultural study of gendered onscreen representations of food and their implications for veganism." Thesis, Florida Atlantic University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1527081.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.
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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Wyllie, Barbara Elizabeth. "A study of the work of Vladimir Nabokov in the context of contemporary American fiction and film." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326244.
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Chen, Yeong-Rury, and na. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061009.132620.
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This doctoral research project intends to institute the study of the unique
and significant Huangmei Opera film genre by pioneering in making a
series of documentaries and writing an academic text. The combination
of a documentary series and academic writing not only explores the
relationship between the distinctive characteristics of the Huangmei Opera
film genre and its enduring popularity for its fans, but also advances a film
research mode grounded in practitioner research, where the activity of
filmmaking and the study of film theory support and reflect on each other.
The documentary series, which incorporates three interrelated subjects
- Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and
Brother Lian: Ling Po - explores the remarkable film careers of each figure
while discussing the social and cultural context in which they worked.
The section on Le Di introduces the subject of melodrama as a Chinese
tradition. The section on Li Han Hsiang discusses Li's film aesthetics and
his representation of a utopian Chinese world of the imagination. The final
section focuses on the popularity actor Ling Po gained through her roles of
male impersonation. All three topics provide an opportunity to rethink our
understanding of the social, political and cultural forces that contribute to
the genre, and to build an emotional connection between past and present
for the viewers. Meanwhile, by interviewing those surviving key figures
and assembling materials that have been lost, the documentary series not
only fulfils the needs of many fans, but also serves field studies in the area
by setting a direction in research and providing a valuable resource for
scholars involved in Chinese film and cultural studies. It is both accessible
to mainstream audiences and academically warranted.
As an adjunct to the documentary series, the written text explores
aspects of the same material in more depth through the use of structuralist
methodology, and psychoanalytic, auteur and genre theories. The text
combines these Western approaches with aspects of Chinese culture,
philosophy and aesthetic traditions, proposing links between Chinese
aesthetics and Western film theories that contribute new understandings
to both Chinese and Western film studies. On the other hand, because
these film theories were originally developed to study Western films, the
Chinese origins of the Huangmei Opera film genre may challenge existing
theoretical paradigms and so provide new interpretations. This doctoral
project also includes a complete report of all phases of the documentary
production and design process, and a unique, comprehensive filmography
of Huangmei Opera films, and as such supplies a research foundation
for both documentary filmmakers and academics who are interested in
studying the Huangmei Opera film genre further.
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Chen, Yunxiang. "Warriors as the Feminised Other--The study of male heroes in Chinese action cinema from 2000 to 2009." Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2013. http://hdl.handle.net/10092/8176.
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"Flowery boys"(花样少年) - when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts.
It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena.
With Laura Mulvey's theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. With such reconsideration of the relationship between the film texts and the audiences, this project aims to strip off the negative connotations imposed on the concept of 'feminisation' and to seek to prove the emerging of a feminine discourse popularised by a graphic revolution.
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Tse, Wing-hin, and 謝穎軒. "Deconstructing the auteur : a study of the process of value-formation in the cinema of Wong Kar-wai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206664.
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From a figure of controversy to an illustrious auteur with international renown and widespread critical acclaim, Wong Kar-wai remains unique in the history of Hong Kong cinema. While his films are often box-office failures and criticised for their artistic ostentations at home, Wong enjoys a celebrity status at international film festivals and his films remain a focus in academic studies worldwide. It is this disparity in the reception and value judgment of Wong as a filmmaker that this dissertation is interested in addressing. Thus the central thesis is to explore how critical discourse and institutions confer cultural prestige to his films that positively impact upon their reception and circulation.
Existing literature on Wong’s oeuvre focuses eclectically on his artistic merits while side-stepping the material politics behind the reception and circulation of his films, and this dissertation aims to rectify this tendency by foregrounding the site of cultural production where all these cultural debates occur. If aesthetic and critical values are socially constructed, they are also predicated on a complex and changing nexus of multiple social, cultural and institutional factors. Art and their producers do not exist independently of a complex institutional framework which authorises, enables and legitimises them. Thus this dissertation is concerned with exploring how these discursive and institutional frameworks influence what is said and can be said about his films.
Chapter 1 looks into how film festival emblematisesa dynamic system where a film accrues values as it circulates among mediators in their struggle for cultural legitimacy, thus exploring issues such as taste-construction and power relations among mediators. Through adopting a Bourdieuian paradigm, this chapter explores the significance of mediators in legitimising cultural values concerning the cinema of Wong Kar-wai in hope of broadening the analysis of festival films into the socio-economic and institutional conditions of their reception and circulation.
Chapter 2 explores how the image of the auteur impacts upon the reception and circulation of the cinema of Wong Kar-wai vis-à-vis Corrigan’s idea of the commerce of auteurism which recontextualises auteurism within an industrial and commercial framework and foregrounds the branding of the auteur-star as a commercial strategy. In particular, I examine how the interviews of Wong Kar-wai can be read as a paratextual site where different mediators contribute to the cultural ‘investment’ in the construction of the celebrity sign.
Chapter 3 marks a self-reflexive turn into exploring the nature of knowledge production in the formative process of canonisation. Through adopting Greg Urban’s notion of ‘metaculture’, I examine how knowledge production can function as a metacultural sphere that influences the circulation of cultural products such as films. An examination of canon formation not only reveals the values inherent in such assessments, but also foregrounds the cultural and institutional assumptions surrounding cinema’s shifting social and cultural significance.
This dissertation therefore aims to broaden the scope of filmic analysis from textual-oriented criticism to exploring the institutional and discursive frameworks that construct cinematic values, also illuminating how these value judgements inform the continuing and evolving canonisation of films.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Culkin, Nigel. "Can a high-tech breakthrough approach deliver novel supply and demand solutions? : a study of digital cinema rollout." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/19052.
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Digitalization is the process of making digital everything that can be digitised to change a business model and provide new revenue and value-producing opportunities. However, difficulties exist in evaluating the value created by digital technology investments in organisations, industry structures, economies and society, at large. My dissertation illustrates how the distinct characteristics of digital technologies are implicit in an evolution from stable to fragile product innovation; while highlighting the need for a dynamic approach to entrepreneurial innovation within national innovation systems. The foundations for my work are bound up in the digitalization of value networks, and the context for this research is digital cinema - a process that began in 2000. Digital cinema offered a new value proposition to distributors and significant cost reductions for the US studios. With a reliance on a highly developed value chain to protect intellectual property, these studios sought to learn from the disruption digitalization caused to the music industry, by cultivating digital technology as an, incremental innovation, in replacing celluloid with bytes to project content to cinema audiences. Global digital cinema penetration in 2014 stood at 90 per cent of the total screen footprint. The dissertation assesses features of this digital rollout that have been under-explored; including the role digital technology has assumed in process and product innovation; and, the behavioural responses of both incumbents and new entrants during the diffusion and adoption phase. My dissertation is supported by eight published papers, which highlight the need for domestic policymakers to focus their attention on emerging entrepreneurial innovations; the utilisation of current knowledge and strategies for novel solutions in order to strengthen their respective national innovation systems. Taken together they help explain the creation, diffusion and adoption of digital cinema, explore the new content creation opportunities they support, and explain how three nations in particular have sought to innovate and reorientate themselves in relation to these novel phenomena. The wider implications of the findings of the project build on the innovation literature in examining the diffusion, adoption and knowledge acquisition during the rollout of digital cinema technology. These findings suggest a radically different reading of both disruptive innovations and national innovation systems than has been offered in previous accounts, viewing the digital cinema rollout as a case study of an increasingly mobile sector, in which technological factors retreat in importance behind entrepreneurial innovation as a key driving force in reaching audiences. Finally, in exploring the phenomenon of the digitalization of value networks I have made a significant contribution to knowledge in the design of an innovative mixed method; specifically in the area of field research - a qualitative data collection method designed for considering, observing, and interacting with individuals in their natural environments. Over time, I have established that digital cinema was capable of delivering novel supply and demand solutions - starting with a few unrelated scraps of data, through the establishment of personal networks with communities of practice (in the UK, US & Norway) to building rich, and complex quantitative data sets capable of measuring the entire diffusion and adoption phase of the digital cinema rollout, right across Europe.
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Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.
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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.
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CARVALHO, CARLOS DE AQUINO. "THE SCREEN STAINED BY BLOOD A STUDY OF THE MYTH OF THE REAL URBAN OUTLAW IN THE BRAZILIAN CINEMA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3287@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO presente trabalho busca investigar o mito do bandido urbano e as nuances de sua representação no cinema brasileiro. Analisa um conjunto de 11 filmes da produção cinematográfica dos últimos 50 anos, assim como a origem da construção desse mito na imprensa e sua exploração pela mídia contemporânea.Como pano de fundo, mostra as mudanças no perfil do bandido, a entrada de novos agentes no mundo da criminalidade e a escalada da violência como uma marca da sociedade brasileira.
This study investigates the myth of the real urban outlaw and the nuances of its representation in Brazilian cinema. It analyses a set of eleven films from the cinematographic production of the past 50 years as well as the origin of the construction of such a myth in the press and its exploration by contemporary media. In the background it shows the changes of the outlaws profile, the appearance of new agents in the world of criminality and the escalation of violence as a characteristic of Brazilian Society.
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Budha, Kishore N. "Market reforms, media deregulation and the Hindi film : a study of the ideology of Hindi cinema and the media." Thesis, University of Leeds, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496120.
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Piazza, Roberta. "Dialogue and Genre in Italian Cinema after the War. A Study of the Representation of Verbal Interaction in Films." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487006.
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The study is a linguistic investigation of dialogue in a number of Italian films. It begins to correct for the academic disregard for speech in film studies and the paucity of research on the portrayal of fictional discourse in areas other than drama and literary prose. The purpose ofthe research is to identify the speech patterns that reflect the representation of dialogue in various film genres; the hypothesis is that different discourse styles are indexed to specific film genres, therefore, an accurate definition of genre cannot fail to take into account the plane ofdiscourse, in addition to iconography, narrative and soundtrack. Film discourse is approached from the specific angle ofthe representation of conflict, and the study follows how characters in the various genres disagree and argue along a cline that goes from cooperativeness and solidarity-based conflict to uncooperativeness and disfluency-based confrontation. The choice of this particular angle is based on the conviction that conflict talk often highlights pivotal moments in films and can suggest the diverse patterns ofdiscourse characteristic of vurious genres. Four are the main genres explored in the study, namely comedy, mc1odrama, horror and westerns, and the period covered is the post-war time from the 1950s to the present day. Although clearly not exhaustive ofthe rich panorama of lIulian cinema, these genres are a sufficiently representative sample ofthis national l'inema and usefully suggest how discourse varies according to the type of film. The results are indicative of a strong correlation between genre and discourse and the research expectations are met in that, although some patterns ofconfrontational discourse can be found throughout all forms of cinematic dialogue, there are visible pullems ofdiscourse that characterise comedy as opposed melodrama, western or horror.