Dissertations / Theses on the topic 'Cinema verite'
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Majoros, Michael A. "Truth and lies in cinema verite." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75983.
Full textMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (leaf 48).
1985 in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies. This thesis consists of two sections: Truth and Lies, and the making of Everything Must Change. Truth and lies traces several developments made in the evolution of the documentary cinema (both technological and ideological) and explores their effect upon the manner in which the world before the camera has been transformed onto film over the course of the past ninety years. During this period, the documentarian has labored under the constraint of having to present a more or less objective view of his subject, and historically this objectivity has been considered synonymous with "truthfulness"; the filmmaker has not been allowed to present subjective truth. In the eyes of critics, subjectivity and bias were lies. The premise throughout this discussion is that documentaries indeed are subjective statements, and that as the tools available to the documentarian become more and more transparent, this inherent subjectivity becomes increasingly masked. This paper contends that a possible solution to this dilemma might be for filmmakers to include contextual clues to subjectivity within the scope of their work . The second section, the making of Everything Must Change, outlines the process of shooting and editing my thesis movie, and examines how a certain degree of contextualized subjectivity has been included specifically within this work. The thesis is comprised of a written text and a 42 minute video copy of my thesis film, Everything Must Change.
by Michael A. Majoros.
M.S.V.S.
Hrechdakian, Karine. "An experiment in form : the merging of cinema-verite documentary and narrative filmmaking." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/74969.
Full textKilaru, Sunilrao Mohanrao M. ""Tales of My Cities"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.
Full textBaker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
Full textKoch, Anna. "Characters as social beings : social performance in the French and Czechoslovak New Waves." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:21a0725e-0028-4ddb-9c9d-4eee40148cc3.
Full textMullins, Michael Bryan. "Hildegard On Rubble Mountain." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.
Full textBuckle, Luke. "Contemporary Neorealist principles in Abbas Kiarostami's filmmaking (1997-2005)." Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/9036.
Full textVance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
Full textVettori, Irene <1996>. "Arte, fotografia e attivismo negli anni Ottanta: tematiche femministe in Barbara Kruger, Cindy Sherman e Verita Monselles." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18252.
Full textCaputo, Livio. "Perspectives autour de l'exercice d'un corps au cinéma." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA009.
Full textThe spectator’s body is at the centre of a recurring antinomy in the theories of Art, the work must first move the mind and, in its relation with its observer,the body which is a mere medium not to be too much appealed to.However,some works of Art seem to challenge this relation and alter the spectator’s status by trying to surprise the mind to move the body. Defining cinema as the paradigm of a fictional immersion device, inscribed in a chronology outside any historical specificity,makes it possible to consider differently the face to face position between the projected work and its spectator by including them within the structure of the same device. The projected work looks like the variable of a closed system which is itself a laboratory for the exercise of human perception whose experimental conditions come close to real-life conditions in some particular cases. The study of three distinct sensations isolates some specific cases and leads to establish and observe different alterations undergone by the spectator’s status whose body is also part and parcel of the reception of the work.From the analysis of vertigo,defined as a complex sensation , the relation of the explored paradigm rises as well as the ability to get round that cartesian dichotomy.Tears and their duality,laughter and sadness,redefined as a symbol of complex sensations draw attention to a potential double apprehension of a work of Art, both psychologically physiologically.Lastly, disgust, a simple sensation,sets a borderline case in which the spectator’s mind is trapped and where only his body enables him to grasp the world he is submerged in
Barone, Federica <1989>. "Patrimonio olivicolo in Italia e in Cina, filiera di produzione dell'extra vergine, mercato internazionale e repertorio terminografico della meccanica olearia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/5820.
Full textHeredia, Perea Beatriz. "POST TENEBRES LUX : ABBE. El videoarte interdisciplinar y Monte Verità. Un método de análisis para la creación y caracterización de personajes, mediante la psicología transpersonal y el eneagrama." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90645.
Full textEl inconsciente en su función reguladora parece encontrar vías de comunicación con la parte consciente a través de la expresión plástica ya que ésta es un vehículo apropiado para la generación de símbolos. Dichos símbolos brotan del individuo para quedar plasmados en el exterior. Así se convierten en algo que existe fuera de él posibilitando la asimilación de parcelas oscuras de la mente. Esta tesis explora los orígenes del eneagraman como símbolo en origen con una dinámica de movimiento dancístico así como su relación con las artes visuales y las terapias transpersonales. La pregunta de investigación que planteamos es: ¿Es el videoarte una disciplina que posibilita el crecimiento artístico y personal?, ¿Es este símbolo un instrumento para desarrollar en las artes visuales una investigación profunda del ser humano? ¿Cómo exploraron a través de esta y otras dinámicas interdisciplinares los artistas sus efectos en la creación? ¿Es posible extraer arquetipos personalizados para la creación de coreografías, video danza, video arte y otras técnicas audiovisuales? ¿Qué artistas se han servido de ello?
La present tesi doctoral POST TENEBRES LUX: ABBE, investiga el videoart interdisciplinar en el context artístic internacional, fent-se ressò dels orígens creatius del concepte multidisciplinari a Monte Verità, (Suïssa). On en el període d'entre guerres va servir de refugi i model per a la creació d'un nou paradigma de societat, que després cristal·litzaria en el moviment hippie a USA, i que s'estendria per tot el món. A partir d'això aprofundim en les diferents disciplines artístiques que han servit de suport a les tècniques híbrides i interdisciplinàries, des de la dansa-videodansa, la performance, i la instal·lació audiovisual, abordant la temàtica del cinema expandit i el vídeo expandit. Tot això dóna pas a un mètode d'anàlisi per a la creació i caracterització de personatges, que hem desenvolupat al llarg del nostre projecte de videoart, mitjançant l'ocupació de la psicologia transpersonal i l'eneagrama, com es manifesta en la pròpia investigació i que és executada en la videocreació.
Heredia Perea, B. (2017). POST TENEBRES LUX : ABBE. El videoarte interdisciplinar y Monte Verità. Un método de análisis para la creación y caracterización de personajes, mediante la psicología transpersonal y el eneagrama [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90645
TESIS
Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Full textLang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
Full textThesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Martínez, Muñoz Pau. "La cinematografía anarquista en Barcelona durante la Guerra Civil (1936-1939)." Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7526.
Full textLa investigació està centrada en la recopilació i catalogació exhaustiva de tota la filmografia existent: reportatges de guerra, documentals de propaganda i pel·lícules de ficció. Se ha realitzat l'anàlisi de tots els films i s'ha elaborat una classificació cronològica i temàtica per establir una caracterització de la filmografia anarquista en els seus aspectes temàtics i estilístics. Finalment, s'ha fet una valoració del interès i la seva singularitat de en relació amb la cinematografia de la Guerra Civil.
La tesis doctoral trata sobre la producción cinematográfica realizada por el movimiento anarcosindicalista en Barcelona durante la Guerra Civil española (1936-1939). Un corpus total de ochenta y tres títulos, aunque en la actualidad sólo se conservan cuarenta y cuatro cintas, no todas ellas completas.
La investigación se centra en la recopilación y catalogación exhaustiva de toda la filmografía existente: reportajes de guerra, documentales de propaganda y películas de ficcción. Se ha realizado el análisis de todas las películas y se ha elaborado una clasificación cronológica y temática para poder establecer una caracterización de la filmografía anarquista en sus aspectos temáticos y estilísticos. Finalmente, se ha hecho una valoración sobre el interés y la singularidad de los filmes en relación con la cinematografía completa de la Guerra Civil.
The subject of this dissertation is the film production carried on by Anarcosindicalist movement in Barcelona during the Spanish Civil War (1936-1939). It represents a total of eighty three titles, but only forty are found today, and not all of them completed.
The investigation is centered in the recollection and exhaustive catalogation of the total existed filmography: war reports, propaganda documentaries and fiction films. The study includes an analysis of all the films and a chronological and thematic classification of the anarquiste filmography, in order to be able to establish its thematic and stylistic aspects. Finally, the dissertation also includes an evaluation of the interest and uniqueness of the films in relation to the total filmography produced during the Civil War.
Fister, Charles Francis. "Walker Percy's cinema-verite." 1988. https://scholarworks.umass.edu/dissertations/AAI8813217.
Full text(9806048), Christina Hunt. "'Tis all a chequerboard: Early ABC documentary filmmakers tell their stories." Thesis, 2011. https://figshare.com/articles/thesis/_Tis_all_a_chequerboard_Early_ABC_documentary_filmmakers_tell_their_stories/13463159.
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