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Swett, Karen. "Image & illusion : Los Angeles Film Center." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77683.
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Thesis (M. Arch)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (p. 121-122).
To think about Los Angeles is like sitting in front of the television and switching the channels while keeping track of an the shows. It is a complex place: it has many divergent styles and images trying to make up a whole. Los Angeles is about images and imagery; its tradition and commitment to the movie industry and other media makes Los Angeles a logical place for a film center: a center for the moving i~age. Presently there is neither a location for the film festival nor a public building to study and to learn about the motion picture. This thesis explores through design the possibilities for the Los Angeles Film Center located in the existing Pan Pacific Auditorium. Because of the expanding use of visual communication from the media, film and video, I am interested in adopting an architectural form which can display and preserve an infinite amount of visual information. Los Angeles establishes a framework for the film center which is layered with meanings and interpretations. The city evokes a multitude of images visualized and understood at many different levels by many different people. Not only are varied images important, but over time their associations vary and adopt new meanings. The Los Angeles Film Center must be adaptable to) variations and perceptions, yet be an element of the city which maintains its presence. This design therefore acknowledges the larger scale of the city. The existing Pan Pacific facade is already established as a "set piece" in the Los Angeles fabric. The inner structure, the new film center is designed to evoke emotion, to set standards into conflict, as well as to be inspiring and challenging for the visitor. In the design, the existing facade of the Pan Pacific is a linear registration for the activities introduced on the site. The larger city scale, the vastness of Los Angeles is introduced on the site by the automobile ramp which sweeps and rises in front of the entrance. The scale is referenced by maintaining the general direction of Los Angeles, but the steel towers positioned on a shifted grid establish a separate order for the Film Center. There are three basic territories which help to define the Film Center: first the display, projection area with the theatres, exhibitions and other public facilities, second, the library, archives and study building set in the park, in front of the facade and finally the third is the administrative, loading, shipping and receiving area closest to the street The parts of the building are set both to operate as a whole as well as independently from each other. A microcosm of Los Angeles itself, the Film Center is a layering of simultaneous events which offer a multitude of images both real and imagined, perceived and interpreted at varied levels.
by Karen Swett.
M.Arch
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Wilson, Maddie G. "Exploring Los Angeles as a Character in Film." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1137.
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In film, the construction of Los Angeles as a character has been defined through a series of specific theories that have seemingly misrepresented the unique and diverse nature of the city. Broken into two discussions, my paper will attempt to address 1) the way in which urbanization has influenced the landscape of the city of Los Angeles and how the creation of a heavy materialist culture in Amy Heckerling’s Clueless, the illusionary nature of Hollywood in Billy Wilder’s Sunset Boulevard, and corruption and abuse of power within the LAPD in Curtis Hansen’s L.A. Confidential manifest themselves as products of the this process and 2) the dominant narratives and themes that have been used to construct Los Angeles as a character in film.
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Oltmann, Katrin. "Remake - Premake : Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960 /." Bielefeld : transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960330&prov=M&dok_var=1&dok_ext=htm.
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Delgado, Dúnia Moniz. "Business angels financing in Portugal." Master's thesis, Instituto Superior de Economia e Gestão, 2013. http://hdl.handle.net/10400.5/11270.
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Mestrado em FinançasEsta dissertação analisa a actividade dos business angels em Portugal e o impacto do Programa COMPETE na criação de novas empresas e de novos postos de trabalho. Este programa, criado em 2010, inclui uma linha de co-investimento aos business angels, destinado ao apoio e criação de novas empresas com elevado potencial tecnológico. Neste estudo, encontramos fortes evidências de que esta linha de financiamento estimulou a actividade empreendedora em Portugal. Usando uma base de dados, de preenchimento obrigatório, que inclui todas as empresas privadas em Portugal, seleccionamos dois conjuntos de dados transversais, colhidos antes e depois do Programa COMPETE. Usando o método das diferenças-em-diferenças, observamos que o programa está associado a um aumento de onze novas empresas, principalmente entre as pequenas empresas, e também a um aumento de quatro novos postos de trabalho em start-ups, embora este último efeito não seja significativo. Adicionalmente, através da recolha de dados sobre a forma de um questionário, analisamos as principais características dos business angels Portugueses e avaliamos a sua propensão a investir. Observamos que os business angels portugueses são predominantemente indivíduos do sexo masculino, com idade compreendida entre os 40 e 60 anos, com formação universitária, geralmente nas áreas de ciências empresariais e da economia. Também observamos que apresentam experiência empreendedora, na gestão e em consultoria. Em relação à propensão a investir, observamos que os business angels portugueses têm uma probabilidade positiva para investir acima dos 50.000 euros/ano e investem com uma frequência semestral ou anual.
This dissertation analyzes the business angels activity in Portugal and the impact of the COMPETE Program on firm entry and job creation. This program, created in 2010, includes a co-investment fund for business angels to support the creation of new ventures with innovative potential. There is strong evidence that this financing line has stimulated entrepreneurial activity in Portugal. Using a mandatory database which includes all private firms in Portugal, we select two cross-sectional datasets, collected before and after the COMPETE Program. Through a difference-in-differences approach, we observe that this program is associated with an increase of eleven new firms, primarily among small firms, and an increase of four employees per start-up, although the later effect is not significant. Additionally using data collected through a questionnaire, we analyze Portuguese business angels? main characteristics and evaluate their propensity to invest. We found that Portuguese business angels are predominantly middle-aged male with university education, usually in the fields of business sciences and economy. They also have entrepreneurial, managerial and consulting prior experience. Regarding their propensity to invest, we find that Portuguese business angels have a positive probability to invest up to 50,000 euros/year and they often invest semiannually or annually.
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Kešner, Martin. "Business Angels v České republice." Doctoral thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-165917.
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This dissertation thesis concentrates on Venture Capital in the form of Business Angel investments in innovative companies in the Czech Republic. Primarily, the general knowledge of the Business Angel investments among entrepreneurs and students, the utilization rate of angel investments and the terms of cooperation between investors and entrepreneurs were analyzed. The main objective of this work is to design a methodological procedure of optimal cooperation between Business Angels and innovative entrepreneurs that has had a positive impact on the prosperity of all stakeholders. The theoretical framework summarizes the importance of Venture Capital as a source of funding new and innovative technology companies. Moreover, it focuses on realized research concerning angel investment in the USA and Great Britain. The primary research was realized in the form of interviews with investors and entrepreneurs, who had raised capital from Business Angels. As well, was realized five year long research among the students of universities all over the Czech Republic via questionnaire. Based on the analysis of secondary research and results from qualitative and quantitative research, were designed a normative model, descriptive model and methodology of cooperation between Business Angels and entrepreneurs. The proposed models and methodology respect the international practice, and the outputs have been tailored to the Czech environment as well.
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Farrell, A. Ellen. "Motivations, behaviour and cognition of novice and habitual business angels in new firm incorporations." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/11361/.
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Re-investment is vital to the business angel "industry" because re-investing angels endorse a greater number of entrepreneurs and invest more funds than non-reinvesting angels. In this exploratory empirical analysis, the appraisal qualities of business angels are examined relative to their impact on producing successful investments as well as their impact upon re-investment. The three appraisal qualities investigated are business angels' motivations, their deal generation behaviours and the cognitive heuristics of overconfidence and representativeness. The analysis is based on the information model of the existence of the formal venture capital industry. A typology of business angels is introduced based on 1) their intentions to re-invest and 2) their exit status at re-investment. Business angels who have re-invested are classified as habitual angels. A novel data set reveals information about angels' first to fourth investments that allows for comparability between novice and habitual angels' first investments. The data set is randomly sampled from a known population of newly incorporated firms on the east coast of Canada producing a more representative sample than other business angel studies. Six in-depth case studies add to the findings. The findings indicate that financial motivations, intermediated deal generation and under-confidence are associated with financially successful informal venture capital investments. However, compared to novice angels, the representative sample of habitual angels eschew financial motivations and intermediation, and are characterised by overconfidence at the level of their first investment. Habitual angels demonstrate some qualities that indicate they learn with subsequent investments. Implications for policy makers, business angels and entrepreneurs are included.
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Granville, Scott. "Mapping the Geographical and Literary Boundaries of Los Angeles: A Real and Imagined City." The University of Waikato, 2007. http://hdl.handle.net/10289/2359.
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In Los Angeles, the influence of Hollywood and the film industry, combined with a non-stop barrage of media images, has blurred the line between the real and imaged. The literature reveals a city exploding with cultural, racial and social differences, making Los Angeles a confusing and alienating place. The literature of Los Angeles reflects the changing face of the city. Los Angeles was always a city with a promising future, economic booms and optimism seemed to suggest that here was a place where the American Dream really could come true. Thousands travelled west in search of sunshine, oranges and a life that formerly, they could only dream of having. Yet, the literature of Los Angeles has highlighted the city's actual history together with a realization of undercurrents of violence, prejudice, depression and shattered dreams. The past, present and future is used to reveal a city that is in stark opposition to the Los Angeles, waves of immigrants came to find. This thesis explores the idea of the dreamer coming west to Los Angeles within the literature and the variety of ways in the travellers' romantic notions of Los Angeles as a city of promise, is betrayed, leaving a desperate people in its wake. The literature shows that beneath the shiny surface of a city founded on sunshine and prosperity, corruption reached all levels of society and the 'mean streets' abound. Later, influenced by an overwhelming feeling of powerlessness caused by Post-war nuclear depression, McCarthyism, loss of identity, and living in a city fragmented by racial tension and an ever growing gap between the very rich and the very poor, the literature of Los Angeles reflects not only the fears of that city, but of American society as a whole. The collision of technology, rapid progression and population explosion turned Los Angeles into a disconnected city, where the real and imagined merge in a cityscape that demonstrates a conflicting combination of historical replication, original design and movie-set inspiration. Nothing is ever what it appears to be in Los Angeles.
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Smith, Sarah J. "Angels with dirty faces : children, cinema and censorship in 1930s Britain." Thesis, University of Strathclyde, 2001. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21168.
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Over the last two centuries, a succession of childhood pursuits has been blamed for deterioration in children's health, morality, education and literacy, as well as increases in juvenile delinquency, yet there has also been a constant voice in opposition to these charges. In Britain this debate reached something of a climax in the 1930s, due to the massive growth of cinema and its huge popularity with young people. This thesis aims to explore all aspects of the controversy surrounding children's cinemagoing in the thirties, with a particular focus on the mechanisms used to try and control or contain children's viewing, together with an assessment of the extent to which these mechanisms were successful. Its main arguments are that while concerns about child viewers motivated the development of film censorship practices in Britain and elsewhere, the debate is too complex and varied to be seen as a straightforward moral panic. In addition, it argues that, despite the attempts of the BBFC and others, children were essentially the regulators of their own viewing, as they frequently subverted or circumvented the largely ineffectual mechanisms of official cinema regulation. Moreover it suggests that, in a period when school, home and even leisure tended to be strong on discipline, the cinema was colonised by children as an alternative site of recreation. Matinees in particular were the birthplace of a new and somewhat subversive children's culture, which only started to be `tamed' with the introduction of more formal children's cinema clubs towards the end of the decade. Finally, the productive nature of the debate surrounding children, cinema and censorship is explored in a cases tudy of the 1930s MGM Tarzan films, which assesses the extent to which issues relating to the child audience may have helped to shape a genre.
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Loh, Shinmin Amanda. "A Postmodern Love Affair: Los Angeles and Neo-Noir." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/931.
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This paper aims to investigate how film neo-noir functions as an ideal medium to engage in a postmodernist critique of our society, focusing on its negotiation in the city of Los Angeles. Through incorporating postmodernism theorists Fredric Jameson and Linda Hutcheon’s arguments of the themes of the Nostalgia Mode, Parody and Pastiche, and the Decentered, Destructured and Dehumanized, this paper will demonstrate how they manifest in neo-noir’s Los Angeles to totalize contradictions in society and evoke a critical awareness.
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Caston, Emily Katherine. "Hollywood film narratives relating to angelic intervention 1933-1955 : tradition and community." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614982.
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Richmond, Trevor M. "Developing a new context for leadership development in the Los Angeles Fire Department." Thesis, Monterey, California: Naval Postgraduate School, 2014. http://hdl.handle.net/10945/44651.
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Approved for public release; distribution is unlimitedLeadership development in the fire service and other homeland security entities is in need of an assessment. Homeland security leaders are pointing to leadership as the single biggest determinant of success of the homeland security enterprise in the near term. How these entities have approached leadership development in the past has not proven in any empirical way that it is developing better leaders. Perhaps this approach is wrong, and leadership training needs to look to the broader social environment for insights into effective leadership development. This thesis examined how the Los Angeles Fire Department (LAFD) and similar homeland security entities could take advantage of the contemporary thoughts on leadership development to prepare their leaders better. This thesis assessed the Los Angeles Fire Department Leadership Academy through a formative evaluation of the current educational contexts and concluded that much of the existing educational framework was not responsive or representative of current thoughts on effective leadership development. Lastly, this thesis offered a new narrative for leadership development in the LAFD and other homeland security entities by pivoting the understanding of leadership development as an individual process to leadership development as a social process.
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Fenske, Uta. "Mannsbilder : eine geschlechterhistorische Betrachtung von Hollywoodfilmen 1946 - 1960 /." Bielefeld : Transcript, 2008. http://d-nb.info/986757047/04.
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Wickman, Annika. "I mötet med Bill Violas videokonstverk Five Angels for the Millennium." Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-898.
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Uppsatsen behandlar upplevelse. Analysen av upplevelse utgår från uppsatsförfattarens möte med den amerikanske videokonstnären Bill Violas installation Five Angels for the Millennium (2001).
Forskningsansatsen är främst fenomenologisk vilket innebär att fokus ligger på att undersöka vad som är, vad det föreställer och hur den upplevande uppfattar detta.
I bakgrunden står frågan hur upplevelse, med utgångspunkt i en persons möte med ett videokonstverk, kan analyseras teoretiskt. Uppsatsförfattaren för samman ett antal teoretiker som alla skrivit om emotioner, i form av känsla eller affekt, i samband med en tolkningsakt. De forskare som det främst refereras till är Bent Fausing, Mark Hansen, Laura Marks, Janet H. Murray, Lynne Pearce och Roland Barthes. Barthes har även påverkat förhållningssättet till analysen i stort.
Den metod som används är att först skildra mötet med verket och att därefter analysera mötet utifrån fyra olika infallsvinklar. Från analysen av vad som mött den upplevande, flyttar perspektivet till att se vad som skett i den upplevande, för att därefter undersöka hur den upplevande utvecklat en relation till verket. Slutligen diskuteras verkets religiositet, bl.a. med hänvisning till Wassily Kandinskys texter om det andliga i konsten, Walter Benjamins beskrivning av upplevelse, nyare forskning om religiös upplevelse och Violas kontext och uttalade avsikt.
I texter om Viola framkommer det att de som mött hans verk delar en likartad upplevelse. Analysen är avsedd att ge en förståelse för hur Viola går till väga för att få den som möter hans verk att känna och tänka på ett visst sätt. Slutsatsen är att den upplevande, i mötet med verket, möter Violas ideologi, vilken kan sägas vila i utgångspunkten att människan måste finna en ny form av verklighet. Implicerat är att den värld hon lever i idag inte är människovänlig.
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Madden, Oliver. "”On the Side of the Angels?” : Representationer av kristendomar i TV-serien Arkiv X." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-30938.
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The X-Files (svensk titel Arkiv X) är en TV-serie som producerades mellan 1993-2002. Serien har gått till historien för att fånga tidsandan och dess postmoderna misstro mot myndigheter och intresse för nyandlighet. I ett flertal avsnitt kommer huvudpersonerna i kontakt med den kristna religionen. Uppsatsen undersöker hur olika former av kristendom gestaltas i The X-Files. Frågeställningen berör de bikaraktärer som dyker upp i serien och som kan beskrivas som representationer av kristendomar. Genom närläsningar av sex avsnitt nås följande resultat: Generellt sett kan man inte säga att framställningen av kristna är uteslutande positiv eller negativ. Den är mångfacettered, vilket stämmer väl överens med TV-seriens postmoderna och ”livsåskådningsfragmentariska” natur. En vanligt förekommande stereotyp är protestantiska fundamentalister, som kan visa sig vara goda karaktärer eller charlataner. Den katolska kyrkan framställs som en liberal kyrka vars främsta roll är terapeutisk och katolicismen framställs som den normativa, sansade och vanliga formen av kristendomen. The X-Files bryter mot en hel del stereotyper som förekommer i amerikansk film och TV. Trots att fundamentalisten har en framträdande roll så framställs den ofta i slutändan i en relativt positiv dager. Skräckfilmsstereotypen där katolska präster tampas med det övernaturliga bryter serien också mot, och låter protestantiska karaktärer ha dessa roller istället. The X-Files lyfter fram positiva och negativa aspekter hos såväl fundamentalism som mer liberal kristendom. Med det konstaterat så är slutsatsen ändå att den kristendomsform som får mest utrymme i serien är fundamentalistisk.The X-Files is a television show that was produced between the years 1993-2002 . The series has gone down in history for capturing the zeitgeist of the 1990s with its postmodern distrust of authorities and its interest in new forms of spirituality. In several episodes, the main characters come in contact with the Christian religion. This thesis examines how different forms of Christianity were portrayed in The X-Files. The questions asked concerns the secondary characters that are featured individual episodes of the series and can be described as representations of different form of Christianity. Through close readings of six episodes the following results were discovered: Generally speaking, one cannot say that the portrayal of Christians is exclusively positive or negative. It is multifaceted, which is in line with postmodern nature of the show. A common stereotype is the Protestant fundamentalist, which can prove to be good characters as well as charlatans. The Catholic Church is portrayed as a liberal church whose primary role is therapeutic and Catholicism is presented as the normative form of Christianity. The X-Files contradict a lot of stereotypes that exist in American film and television. Although fundamentalists have a prominent role, they often end up as portrayed in a relatively positive way. The common horror stereotype where Catholic priests struggle with the supernatural, is also one with which the series break, and instead Protestant characters are given these roles. The X-Files highlight the positive and negative aspects of both fundamentalist and liberal Christianity. Even so the form of Christianity that gets the most screen time in the series is fundamentalist.
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Oltmann, Katrin. "Remake - Premake Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960." Bielefeld Transcript, 2006. http://d-nb.info/984273557/04.
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Hilliard, Howard (Howard Louis). "The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038828/.
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The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.
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Bergsten, James David. "Black Dolphin." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397832268.
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O'Gara, Kellen E. "An Apocalypse of Change: The Reconstruction of the American Identity in Post-9/11 Cinema." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1189.
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Thesis advisor: Bonnie JeffersonThis paper analyzes the reconstruction of the American identity through the lens of two post-modern films: Paul Haggis’ Crash and Tony Kushner’s Angels in America. First, the role of 9/11 on the resurgence of trauma culture and its catalytic effect on the start of the post-modern era is examined. This analysis argues that these films unite American citizens through the central notion of humanity that mankind ultimately shares. This is achieved through the framework of three central themes: the elimination of the typified other, the restoration of faith in mankind and the human condition, and the uniting sense of touch. The construction of these themes reconciles the ambiguity and uncertainty inherent in all aspects of the post-modern era. These films serve as metaphorical narrative vehicles and function to draw the American people back into a sense of a universal, national identity in the wake of September 11. In addition, they foster reassurance in the American spirit and ensure the ability of the United States to initiate collective recovery after periods of intense national trauma
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: Communication
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Fitting, Jessica. "Attack of the Fallen! Cinematic Portrayals of Fallen Angels in Post 9/11 Science Fiction Film." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/pitzer_theses/2.
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Abstract: The science fiction films which feature the angel Gabriel (The Prophecy (1995), Van Helsing (2004), Constantine (2005), Gabriel (2007), and Legion (2010)) represent a trend in exploring specific socio-cultural issues of America. All of these films explore fears over the loss of faith in American culture in a post 9/11 society. They are comparable to the ways in which science fiction films of the 1950’s addressed fears of the Cold War. By utilizing the alien invasion plot structure from the 50’s, contemporary plots have a pre-defined structure and film language in which to explore the themes of a crisis of faith. The fallen angels featured in all these films have their textual basis in the apocalyptic Jewish text of 1 Enoch, which presents an alternate origin of evil tale to the one found in the Christian Bible, which attributes to wicked fallen angels and provides the religious archetypal themes, moral basis and story ark for the fallen angels of the films. Furthermore, the films evoke an “uncanny Other” through the use of the angel Gabriel, who is a familiar Christian figure but who is uncanny in his modern portrayals, allowing frightening fears of the loss of faith and Christian identity to be explored through a familiar figure. Finally, the fears of encountering a “Muslim Other” in a post 9/11 world, and the millennial fears of uncertainty, are the cultural factors that lead to this crisis of faith present in all of these films.
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Dammann, Lars. "Kino im Aufbruch : New Hollywood 1967-1976 /." Marburg : Schüren, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016300992&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Zook, Julie Brand. "The flow of city life: An analysis of cinematography and urban form in New York and Los Angeles." Diss., Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/54927.
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This dissertation uses quantitative data on city cinematography and the morphological study of filming locations to identify how differences in ways of seeing cities, as shaped by cinematographic choices, are anchored both in differences in what is physically present as well as in differences in frameworks and expectations about what might be interesting or important to see.
Four films are evaluated that are set in Los Angeles and New York, two cities recognized as paradigms in American urbanism: The Naked City (1948), The Long Goodbye (1970), Goodfellas (1990), and Pulp Fiction (1994). In general, the New York movies suggest the embeddedness of the individual in the city and its social life in ways tied closely to urban form, with the visual presentation of the street acting as an index to the position of the individual within the narrative. Los Angeles, by contrast, presents the city as a series of enclaves linked by infrastructure. The street as a sociologically relevant entity hardly exists, with the exception of a handful of chase scenes, as though only crisis can catalyze direct encounters with the streets of Los Angeles.
Within individual movies, the depiction of city form reveals directorial idioms in the presentation of the narrative. The Naked City exploits corner shots to impart greater visual interest to the presentation of activity in the streets. The Long Goodbye shows the degradation of the distinction between public and private space as concurrent with a city form and culture that resists decoding. Goodfellas develops a grammar of views on the street that corresponds to the relationships of individual characters to overlapping social groups over time. Pulp Fiction mainly presents city locations as decontextualized to focus on dialogue and relationships, to sculpt urban form to meet the exigencies of the narrative, and to all the more powerfully introduce surprise.
In the concluding chapter, the qualities of the city as presented in Goodfellas and Pulp Fiction and both of the cities are diagrammed and discussed relative to architectural precedents and ideas that might inform architectural design.
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Lay, John Phillip. "Dangerous, Desperate, and Homosexual: Cinematic Representations of the Male Prostitute as Fallen Angels." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6085/.
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The purpose of this study is to frame the cinematic male prostitute as a "fallen angel" to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term "fallen angel" is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included.
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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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van, Osnabrugge Mark S. "The financing of entrepreneurial firms in the UK : a comparison of business angel and venture capitalist investment procedures." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:7f618979-4468-4669-9549-cb35b245e8b0.
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Although just a minority of all small firms in the UK, high-growth entrepreneurial ventures are becoming widely recognised for their role in job growth and economic prosperity. However, due to their inherently high-risk nature, many of these early-stage firms experience difficulty in securing outside finance from institutional investors, which ultimately limits their growth and economic potential. Fortunately, two investor types, business angels (BAs) and venture capitalists (VCs), do fund a small proportion of these entrepreneurial ventures, although they, especially BAs, often have much more financial capital available for such investments. Since many aspects of BA and VC investment processes remain unknown, it is hoped that a better understanding of how and why these investors fund particular investments may aid in further lessening the entrepreneurial funding problem. This research study, therefore, conducts the first-ever detailed comparison of the investment criteria and procedures of these two financiers across the full investment process. To make the study more robust, a theoretical base is adopted (based on agency theory) to form research hypotheses which propose that BAs and VCs in the UK may use different approaches to limit potential agency risks in their investments (i.e. the risks associated with an entrepreneur's potential misuse of the investor's money). Utilising data from 40 personal interviews and 262 questionnaire responses, this study empirically supports the main hypothesised notion that, although both investors reduce agency risks at all stages of the investment process, BAs place more emphasis on doing so ex-post investment (the incomplete contracts approach), whilst VCs stress doing so more ex-ante investment (the principal-agent approach). In supporting the hypothese, empirical information is gathered about each investment stage and each investor group's heterogeneity. Possible implications of these findings are then discussed in the hope of aiding, no matter how slightly, the funding efficiency of small entrepreneurial firms.
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Bouvet, Jacques. "Bessonneau-Angers : les vecteurs historiques de la prospérité et du décclin d'une entreprise industrielle au 20e siècle." Rennes 2, 1996. http://www.theses.fr/1996REN20014.
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En 1966,La première entreprise de l'industrie chanvrière en France (corderies, filatures, tissages, et par extension tréfileries et cableries métalliques) ferme ses portes après plus d'un demi siècle d'existence sociale. S'appuyant sur l'exploitation d'un fonds d'archives internes, complété par des sources publiques, privées et orales, l'auteur pose la question du devenir de l'entreprise au regard de son identité tel qu'il est possible de l'appréhender à travers quatre tableaux prééminents : l'héritage économique et culturel des manufactures du 18eme et du 19eme siècles, les transmissions du patrimoine qui ponctuent les mutations d'un capital insulaire et le rôle des individualités patronales, une gamme diversifiée de fabrications et les marches commerciaux, une cite industrielle, avec ses structures mentales et matérielles, qui tient lieu de mono-industrie dans la ville. L'auteur rassemble ainsi autant d'éléments qui le conduisent en conclusion à l'élaboration de tableaux synoptiques synthétisant les conjonctures historiques propres à l'entreprise, celles qui sont intervenues dans le glissement d'une phase de prospérité à celle de déclin. Cette approche générale délimite la problématique de la thèse. Elle aboutit a valoriser une lecture a plusieurs niveaux de nature a mettre en exergue les paramètres interprétatifs de l'entreprise, indépendamment des seuls postulats qu'elle entend revendiquer, et à mesurer la responsabilité des acteurs patronaux dans un cadre qui intègre et dépasse l'incidence de l'événementiel même économique. De la prise en compte des éléments constitutifs de son identité historique découle en grande partie la capacité de l'entreprise a gérer ses cohérences internes et a assimiler ses contraintes externesIn 1966, the leading French factory (rope-making, spinning, weaving, and also wireworks and cable manufacturing) shut down after more than fifty years of social existence. Basing his work on the exploitation of reports belonging to the firm, in addition to public recognized sources either written or orally transmitted, the author raised the question of the development of the firm in the eyes of its historical identity. Without depending on employer's statements and postulates only, he tried to analyse it through four main stages, first the economic and cultural heritage of firms in the 18th and 19th centuries, second the transfers of properties which punctuate the transformations of a self-sufficient capital and the part taken by employers, third a wide range of production and trade markets and finally an industrial microcosm having clearly-defined mental and material structures and which was nearly the only industrial centre in angers. After gathering all this information, the author concluded by charts and showed the historical circumstances peculiar to the factory from the prosperous years to the decline. This overall approach help to define the subject of the thesis. It enables several types of reading so as to put forward the integration factors of the factory, regardless of the postulates it clained and to consider the responsibility of the employers in a scope which integrates the consequences of events, even economic into itself and goes beyond them. The way it took into consideration the various components of its historical identity helped the factory to handle its internal coherence and to overcome its external pressure
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Rodriguez, Emily M. "Angel Financing: Matching Start-Up Firms with Angel Investors." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/136.
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The hardest time to receive financing for a venture is at its earliest stage. These ventures are among the riskiest investments for an investor, which creates a gap in financing that is often bridged through a source of funding called Angel Financing. Angel investors are one of the best providers of early stage funding. This thesis will explain what angel investing is, how they work, and what angels look for. This information will help entrepreneurs be better equipped to find an angel investor for their venture.
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Böhnke, Alexander. "Paratexte des Films : über die Grenzen des filmischen Universums /." Bielefeld : Transcript, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015439218&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Riha, Joyce Marie. "Fire Ants." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5150.
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Loss is a fundamental part of the human experience, from the loss of security and innocence that comes with the necessary separation of child from parent to the ultimate loss of life. Along the way, there are the losses of jobs, of incomes, of homes; the losses of friendships, of family members, of lovers; the losses of direction, of control, of hope. As cognitive and caring beings, humans struggle to cope with these losses, to greater and lesser degrees of success. This is the theme at the heart of this thesis. Fire Ants is composed of ten short stories, fictive works, which differ in specific subject matter, yet deal unilaterally with issues of loss. Like the venomous creatures that threaten to eat B. D. Packard alive in the title story, life eats away at a number of characters in the collection who are deficient. The narrators in "Aftermath" and "Hues," for example, suffer psychological -- if not physical -- deaths. But not all of the characters lack coping mechanisms, unhealthy as they may sometimes be. As the stories unfold, some characters begin to gain small degrees of perspective and understanding, to learn that while life is full of loss, it is not always entirely bleak. As demonstrated in "Cross Creek," good exists, though it is not always where one might expect it. And life can be full despite loss, as depicted in "Stitches."
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Sheldon, Larkin J. "My Way or the Highway and A Correspondence: Visual Representations of the City." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/617.
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This Capstone Project encompasses two videos, each representing different ways to visually structure the experience of “the city”.
The first video, "My Way or the Highway", is a 5 minute piece examining Los Angeles Transportation systems. Through observational footage and a poetic editing style, I compare and contrast the experience of traveling via public and private transportation. Through this video I aim to encourage the viewer to consider their own transportation options whether it is in Los Angeles or anywhere else around the world.
The second is a 12 minute video, titled "A Correspondence" structured as a correspondence between Seattle and Los Angeles as if they were personified discussing what it means to be a developing/growing city and the responsibilities it entails. Visually I present a combination of footage from L.A. and Seattle to create an "impossible city" making the viewer second guess from where the footage originates, emphasizing the difference between learning about a city from others and learning about a city through experience. In "A Correspondence" I aim to provide an experience that forces the viewer to realize their own interactions with cities and how their view is shaped by their specific experiences, making everybody's view of a city subjective.
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Baronnet, Solenne. "Les politiques de développement durable, le défi urbain : Etude comparative des villes de New York, Chicago, Los Angeles et Paris." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040080.
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Quels sont les défis urbains auxquels New York, Chicago, Los Angeles et Paris sont confrontés en matière de développement durable ? L’objectif de cette thèse consiste à dresser un état des lieux des politiques de développement durable mises en place dans des villes aux typologies différentes, qui sont confrontées aux mêmes problématiques. L’analyse des tenants et des aboutissants des actions en faveur du développement durable urbain s’envisage sous trois aspects de la gouvernance impliquant différents acteurs dans ce défi : administrations municipales, sociétés privées et habitants. Nous analyserons les processus lancés par chacun de ces groupes, exposerons les atouts qui font la force des différentes aires urbaines à l’étude, de même que leurs faiblesses et les axes d’amélioration possibles. Cette étude conclut que les quatre villes ont des divergences de priorités sur le développement durable, le diagramme représentatif du concept n’est jamais équilibré : l’un des trois piliers prend en général le dessusWhat are the urban challenges New York, Chicago, Los Angeles and Paris are facing regarding sustainable development? This thesis consists in examining the sustainable development policies that have been put in place in four cities with different typologies, but that are confronting the same issues. Analyzing the actions taken in support of sustainable development must be considered through three aspects representing three different groups implied in this challenge: municipal authorities, private companies and the people. We will analyze the different processes launched by each of these groups; we will discuss the assets of the four cities, as well as their weaknesses and possible improvements. The four cities have diverging priorities regarding sustainable development and the concept is never perfectly balanced between ecology, sociology and economy. One of these themes generally takes over
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Cook, Rebecca J. "The Fire One More Time: A Comparison and Analysis of Two Los Angeles Riots, the Watts Riots of 1965 and the King Verdict Riots of 1992." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/292181.
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Rios, Bernardo Ramirez. "Culture, Migration, and Sport: A Bi-National Investigation of Southern Mexican Migrant Communities in Oaxaca, Mexico and Los Angeles, California." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338140496.
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Cagle, Natalie Kenra. "Costume Design and Production for City of AngelsBook by Larry Gelbart, Music by Cy Coleman, and Lyrics by David Zippel." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437645350.
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Maher, Sean William. "Noir and the urban imaginary." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/42216/1/Sean_Maher_Thesis.pdf.
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Noir and the Urban Imaginary is creative practice based PhD research comprising critical analysis (40%) exegesis (10%) and a twenty-six minute film, The Brisbane Line (50%). The research investigates intersection of four elements; the city, the cinema, history and postmodernity. The thesis discusses relationships between each of the four elements and what cinematic representation of cities reveals about modern and postmodern urban experience and historicisation. Key concepts in the research include, 'urbanism', 'historiography', 'modernity', 'postmodernity', 'neo-noir'.
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Ruiz, Paula Arantzazu. "De los teatros anatómicos a 'Oh! Uomo', de Yervant Gianikian y Angela Ricci Lucchi: una arqueología de la mirada médica del cuerpo." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/402100.
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Modern consciousness of the body is due to a number of epistemological processes that took place during the Renaissance. The practice of the anatomy in the anatomical theaters helped to shape and to develop an image of the human body, compiled in the anatomical atlas. Andreas Vesalius’ De humani corporis fabrica libri septem is recognised as the most influential above all. With the advent of the technologies of mechanical reproduction of images during the mid-nineteenth century, a new regime of visualization was born only to redefine the images of the human body in the field of the neurosciences. Atlas of surgical and neurological films such as Camillo Negro’s La neuropatologia (1908) will help scientists to encode and decode pathologies, but the stories of those films are also stories of bodies subjected to a violent apparatus, as the Italian filmmakers Yervant Gianikian and Angela Ricci Lucchi expose in Oh! Uomo (2004).La conciencia moderna del cuerpo y su lugar en el mundo se deben a un número de procesos epistemológicos ocurridos durante el Renacimiento. La práctica de la anatomía en los teatros anatómicos ayudó a modelar una imagen del cuerpo humano y desarrollar un régimen visual recopilado en atlas anatómicos, el más conocido el De humani corporis fabrica libri septem (1543), de Andrés Vesalio. Con la irrupción de las tecnologías de reproducción mecánica de imágenes a mediados del siglo XIX, nace otro régimen que redefinirá las imágenes del cuerpo en el campo de la neurología. Atlas de cine quirúrgico y neurológico como La neuropatología (1908), de Camillo Negro, ayudarán a los científicos a codificar patologías, pero los relatos de esos filmes son también narraciones de cuerpos sometidos a un dispositivo médico-científico violento, tal y como exponen los cinestas italianos Yervant Gianikian y Angela Ricci Lucchi en su película Oh! Uomo (2004).
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Habrnal, Marek. "Faktory hodnoty start-up projektů pro investory v České republice a metody oceňování." Doctoral thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-204783.
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The main objective was to create a normative model of determining the value of early stage for companies in the seed and start up stage. The model should be applicable to entrepreneurs and investors, taking into account the assessment of the value of qualitative factors. Another aim was to identify the significant factors affecting the value of early stage companies in the seed and start up stage, i.e. at a time when there are no or very little revenues. Based on a research among investors and other experts on the valuation of early stage companies and venture capital, the most significant factors were not only identified, but also determined by their weight. The quality of evaluating investment opportunities has a major impact on the profitability of the investor´s capital. Current knowledge of the key value drivers and the mechanisms of valuation can help businesses to set realistic expectations when trying to raise capital to finance the startup of the project. It is therefore necessary to provide a clear methodological framework applicable to both parties of investing. The actual research was divided into two phases - individual interviews with investors and questionnaires. It was confirmed that the most crucial factors are those associated with quality management and company founders.
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Bobée, Emmanuelle. "La musique et les textures sonores comme éléments du récit filmique dans l'œuvre de David Lynch, d'Eraserhead (1977) à Inland Empire (2006)." Rouen, 2015. http://www.theses.fr/2015ROUEL027.
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Cette étude vise à explorer l'univers et l'esthétique du réalisateur américain David Lynch (1946-. . . ) à travers la dimension musicale et sonore, en s'appuyant sur un vaste corpus constitué des dix longs métrages qu'il a réalisés entre 1977 et 2006. Depuis Eraserhead, véritable matrice sonore de l'oeuvre à venir, le cinéaste a toujours accordé une place prépondérante à la musique et au sound design, n'ayant de cesse de parvenir à une réelle osmose entre les composantes visuelle et sonore du récit filmique. Fortement impliqué dans la création sonore, l'élaboration des musiques originales et le choix des musiques préexistantes, il a également su nouer des collaborations fructueuses et récurrentes, notamment avec l'ingénieur du son Alan Splet et le compositeur Angelo Badalamenti, ainsi que des partenariats occasionnels avec divers artistes contemporains. Au fil des années, Lynch a développé une approche singulière, à la fois foncièrement auteuriste et ouverte aux interventions extérieures, au hasard et à l'imprévu, qui s'accompagne de méthodes de travail originales fondées sur l'expérimentation, l'intuition et le « processus d'action-réaction ». Son cinéma utilise toutes les potentialités du registre de l'audible et de la combinaison audiovisuelle pour interagir avec le spectateur, suscitant tantôt l'adhésion au monde fictionnel — notamment par des mécanismes de subjectivisation —, tantôt la désorientation et la distanciation par une mise en évidence de la représentation filmique. Ce constant déploiement de forces contraires contribue à nourrir le sentiment d'inquiétante étrangeté qui émane des récits lynchéens, renforcé ou induit par certains procédés tels que l'utilisation de chansons préexistantes puisées dans le répertoire pop des années 1960, le recours au play-back et l'intégration de scènes chantées ou chorégraphiées, ou encore la mise en place de stratégies musico-narratives inspirées par les mécanismes du rêve ou par le principe de répétition du mêmeThis study aims to explore the universe and aesthetics of American director David Lynch (1946 -. . . ), focusing upon the musical and sonic aspects; it leans on a large corpus composed of the ten feature-films that he directed between 1977 and 2006. Since Eraserhead, which appears as a sonic matrix of Lynch's future works, music and sound design have been given a prominent place by the cineaste, in order to create a true osmosis between the visual and sonic components of the filmic narrative. Deeply involved in sound creation, as much as in the elaboration of original soundtracks and the choice of pre-existing music, he has also developed fruitful and recurrent collaborations, in particular with the sound engineer Alan Splet and the composer Angelo Badalamenti, along with occasional partnerships with various contemporary artists. Over the years, Lynch has developed a singular approach, at once fundamentally authorial and open to external interventions, chance and unforeseen; he has also set up original working methods based on experimentation, intuition, and the « process of action-reaction ». All the potentialities of the audible register and of the audio-visual combination are used to interact with the spectator, arousing either the adhesion to the fictional world —especially by mechanisms of subjectivisation —, or the disorientation and detachment by a highlighting of the filmic representation. This constant deployment of opposite forces contributes to feed the feeling of uncanniness which emanates from Lynchean narratives, reinforced or induced by some techniques such as the use of pre-existing pop songs of the 60s, the resort to lip-synch and the integration of sung or choreographed scenes, or the implementation of musico-narrative strategies inspired by dream mechanisms or by the repetition principle
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Guffey, Ensley F. "Fantastic Histories: War and American Memory in Selected Works of Joss Whedon." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2333.
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This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.
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Serizawa, Molly M. "Dialectic of Celebrity Politics: Identifying Public Personalities and Political Performers in Twenty-First Century America." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/254.
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‘Celebrity’ has become a growing field of critical inquiry and cultural interest in twenty-first century society. Celebrities embody a host of meanings and engender larger ideological and discursive practices, in which they articulate expressions of social, cultural and political power that attach meaning to public individuals. Beginning with the late-twentieth century, celebrities have come to occupy spaces that exist beyond popular culture platforms, most notably in politics and international diplomacy. In spite of its typical association with superficial discussions of gossip and cheap entertainment, celebrities have become the site of anxiety in a capitalist society. To come to terms with these growing anxieties concerning celebrity and its accoutrements, this thesis explores the embedded complexities and consequences of the celebrity system within the framework of what has dubiously been called ‘celebrity politics.’ Through a detailed examination of this phenomenon, this thesis explores the coalescing spheres of Hollywood and the White House, where ‘celebrity’ and ‘politician’ have become interchangeable monikers. In addition to examining the historical conditions that have given rise to the phenomenon, this study examines contemporary articulations of the ‘celebrity politician,’ focusing on Angelina Jolie, Sean Penn and President Barack Obama. Discussion of these figures is framed by critical theory and media studies to better understand their location within the contemporary Western landscape.
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Mandal, Pritam. "Phases, Line Tension and Pattern Formation in Molecularly Thin Films at the Air-Water Interface." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1375905957.
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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Hayes, Kalmia Joy. "Thematic integrity in filmic versions of E.M. Forster's novels." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002261.
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This study discusses the extent to which Charles Sturridge's Where Angels Fear to Tread, Merchant Ivory's Howards End, and David Lean's A Passage to India have aimed at, and succeeded in, exploring the thematic concerns of E.M. Forster's novels. A brief introductory chapter explains the motivation behind this research, and the choice of critical methodologies used. It concludes with an outline of some of the problems confronting film-makers wishing to explore the concerns of novels. The first chapter, which is devoted to Where Angels Fear to Tread, reveals that while Sturridge is "faithful" to Forster's novel at a superficial level, basing most of his scenes on, and taking most of his dialogue directly from, the text, he does not explore Forster's themes. The facility with which film tells stories proves to be a treacherous trap for Sturridge. His version of Where Angels Fear to Tread is totally vacuous because he failed to develop anything beyond the story -- Forster's "tapeworm" of time (Aspects of the NoyeI41). The causality that Forster calls plot seemed beyond Sturridge's comprehension, leaving his film little more than an endless progression of "and then[s]" (Forster, Aspects 87). Characters are not given their full weight; symbols and leitmotifs are overlooked; the allegorical elements he did recognize, he failed to understand, and thus misplaced, so that the epiphanic moments of the novel are lost. There is no possibility of thematic concerns emerging from a film in which plot, characterization, symbol and rhythm are ignored. Sturridge's apparent inability to understand his source is in stark contrast to Merchant Ivory's sensitivity to Howards End, and their evident familiarity with literary criticism on the work. Chapter two explores the way in which their adaptation smooths out putative flaws in characterization and plot, and uses filmic rhythm and camera work to suggest comments made by the novel's narrator. Almost wholly successful in developing the novel's themes, Merchant Ivory's Howards End does not, however, successfully explore the spiritual dimensions of Forster's novel. Film is a medium capable of great subtlety, but its strength lies in its ability to capture the seen; the unseen tends to evade its grasp. It is in dealing with the unseen that Lean's A Passage to India misses greatness, for in virtually every other respect his version of Forster's masterpiece is superb. Chapter three explores Lean's creative and flexible approach to adaptation, his acute sensitivity to the differing demands of film and novel, and his confident technical mastery. It also explores, however, the emptiness at the heart of his film, an emptiness that is the result of his trivialization of the spiritual concerns of Forster's novel.
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Aponte, Elena M. "Either 'Shining White or Blackest Black': Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491495352122861.
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Slatter, Angela Gaye. "Sourdough & other stories : a story told in parts (a mosaic novel and exegesis)." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50910/1/Angela_Slatter_Thesis.pdf.
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The mosaic novel - with its independent 'story-tiles' linking together to form a complete narrative - has the potential to act as a reflection on the periodic resurfacing of unconscious memories in the conscious lives of fictional characters. This project is an exploration of the mosaic text as a fictional analogue of involuntary memory. These concepts are investigated as they appear in traditional fairy tales and engaged with in this thesis's creative component, Sourdough and Other Stories (approximately 80,000 words), a mosaic novel comprising sixteen interconnected 'story-tiles'. Traditional fairy tales are non-reflective and conducive to forgetting (i.e. anti-memory); fairy tale characters are frequently portrayed as psychologically two-dimensional, in that there is no examination of the mental and emotional distress caused when children are stolen/ abandoned/ lost and when adults are exiled. Sourdough and Other Stories is a creative examination of, and attempted to remedy, this lack of psychological depth. This creative work is at once something more than a short story collection, and something that is not a traditional novel, but instead a culmination of two modes of writing. It employs the fairy tale form to explore James' 'thorns in the spirit' (1898, p.199) in fiction; the anxiety caused by separation from familial and community groups.
The exegesis, A Story Told in Parts - Sourdough and Other Stories is a critical essay (approximately 20,000 words in length), a companion piece to the mosaic novel, which analyses how my research question proceeded from my creative work, and considers the theoretical underpinnings of the creative work and how it enacts the research question: 'Can a writer use the structural possibilities of the mosaic text to create a fictional work that is an analogue of an involuntary memory?' The cumulative effect of the creative and exegetical works should be that of a dialogue between the two components - each text informing the other and providing alternate but complementary lenses with which to view the research question.
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Ardanuy, López Jordi. "La Búsqueda de lo sagrado en la poesía de Ángel Crespo." Doctoral thesis, Universitat Pompeu Fabra, 2003. http://hdl.handle.net/10803/7428.
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La tesis interpreta diacrónicamente la poesía de Ángel Crespo (1926-1995) (Poesía, Valladolid, 1996), como búsqueda de lo sagrado desde el interior del lenguaje. Formula filosóficamente las preguntas que el poeta responde artísticamente, para mostrar su universalidad ética y psicológica. Explica cómo el poeta enfrenta las limitaciones del lenguaje para expresar una realidad intuida más allá del mismo: mediante los procesos de simbolización, trasciende su dimensión arbitraria y convencional para albergar una concepción de la realidad (mundo y yo) progresivamente más amplia y unitaria. Como guía de esta evolución, el símbolo crespiano posee una virtualidad religiosa e iniciática que para mantener una perspectiva aconfesional y científica es estudiado desde la antropología de lo sagrado, de M. Eliade, la psicología de Jung y a la hermenéutica simbólica de G. Durand, disciplinas que afirman la dimensión religiosa como parte irrenunciable de la psique y la búsqueda del Sentido como objetivo de toda manifestación humana.This essay entails a diachronic interpretation of the poetry of Angel Crespo (1926-1995) (following the edition Poesía, Valladolid, 1996), as a search for the sacred dimension of the world, developed from within the language. It frames philosophically the questions that the poet answers artistically, in order to show their ethical and philosophical universality. It explains how the poet, by means of the processes of symbolisation, manages to go beyond the edges of language (those of his arbitrariness and conventionality) and to express a conception of the full reality (world and I) gradually wider and more unitarian. As a guide of this evolution, the poetic symbol has a religious meaning and a sense of initiation in the work of Crespo. This thesis studies those aspects from a scientific and not confessional point of view, by relating the poetry of Crespo with the religious anthropology of M. Eliade, the psychology of Jung and the symbolic hermeneutics, from Cassirer to Durand.
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Geloğullari, Gülin. "Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848090/.
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This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.
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Jhong, Ting-Yi, and 鍾庭宜. "Visual and Gender Excesses in Wong Kar-wai’s Fallen Angels: A Critical Analysis with Feminist Film Theories." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/pf3r2s.
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碩士國立陽明大學
視覺文化研究所
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The academic research of Fallen Angels and gender study in the field of Wong Kai-wai’s films are deficient. However, the gender images in Fallen Angels are still extraordinary and subvert. In this study, I will investigate the gender images and spectatorship in Fallen Angels in terms of feminist film theories. Also, this research will demonstrate how this film presents gender images through the narrative context, film editing and movement of camera. This thesis will be divided into three chapters. In chapter one, I will examine the three female characters in Fallen Angels, and demonstrate how they express their subjectivity and subvert the stereotypical images of woman in the patriarchal society. In chapter two, I will argue that the use of 6.8 mm super-wide angle lens transforms the spectacle of woman to a distorted and alienation face. Therefore, male spectators cannot desire the images of woman directly. I will also discuss the costumes of female characters. The strange costumes cause different perceptions to both male and female spectators. This also demonstrates the heterogeneity and agency in them. In chapter three, I will explain the androgynous of male characters in Fallen Angels, and suggest that the gender trait can subvert the patriarchal cultural reception of masculinity and offer female spectators visual pleasure. In this research mix through the investigation of gender images and audience spectatorship, I want to emphasize the agency of spectators and provide alternative interpretation. I hope this thesis can complement the gender study in Wong Kar-wai’s films and reevaluate Fallen Angels.
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Cunningham, Mark Douglas. "Once upon a time in South Central Los Angeles : race, gender and narrative in John Singleton's Hood trilogy." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1139.
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As a result of the groundbreaking success of his debut film Boyz N the Hood (1991), filmmaker John Singleton gained worldwide acclaim, the respect of major film industry figures and became the topic of both scholarly and popular culture film conversations. He also made history, becoming the youngest and the first African-American to be nominated for the Academy Award for excellence in directing. However, the lukewarm critical reception for his sophomore release Poetic Justice (1993) countered the promise many felt he had shown earlier and initiated a lack of interest in Singleton’s subsequent films, rendering him almost obsolete from any future cinematic analysis. This dissertation seeks to resurrect the discussion of John Singleton as a substantial contributor to the world of cinema by bringing attention to the voice that he has given young African-American men and women in the works that comprise what he calls his “hood trilogy,” which includes the aforementioned films and Baby Boy (2001). Specifically, the dissertation addresses this topic by examining how Singleton’s own discussion of black masculinity via film is an extension of the same conversation about maleness began by writers Richard Wright and Ralph Ellison, how the South Central Los Angeles environment has had a tremendous effect on the behaviors and attitudes of the young people that populate the area, the influence of hip hop culture on gender dynamics, and the strain often placed on black male/female relationships in urban settings.
The methodological approach of the dissertation combines film, literature, music, and cultural and sociological studies in the effort to locate Singleton and these films as meaningful components in the investigation of film, popular culture and African-American history and culture. In analyzing these films that, as a result of their subject matter and setting, find the filmmaker at his most assured both narratively and cinematically, the intent of the dissertation is to confirm the potential that Singleton revealed in his debut and also bring awareness to the significant effect his work has on African-American youth culture at large.text
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""They Called Me An Alien": Hanns Eisler's American Years, 1935-1948." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.18056.
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abstract: In the 1930s, with the rise of Nazism, many artists in Europe had to flee their homelands and sought refuge in the United States. Austrian composer Hanns Eisler who had risen to prominence as a significant composer during the Weimar era was among them. A Jew, an ardent Marxist and composer devoted to musical modernism, he had established himself as a writer of film music and Kampflieder, fighting songs, for the European workers' movement. After two visits of the United States in the mid-1930s, Eisler settled in America where he spent a decade (1938-1948), composed a considerable number of musical works, including important film scores, instrumental music and songs, and, in collaboration with Theodor W. Adorno, penned the influential treatise Composing for the Films. Yet despite his substantial contributions to American culture American scholarship on Eisler has remained sparse, perhaps due to his reputation as the "Karl Marx in Music." In this study I examine Eisler's American exile and argue that Eisler, through his roles as a musician and a teacher, actively sought to enrich American culture. I will present background for his exile years, a detailed overview of his American career as well as analyses and close readings of several of his American works, including three of his American film scores, Pete Roleum and His Cousins (1939), Hangmen Also Die (1943), and None But the Lonely Heart (1944), and the String Quartet (1940), Third Piano Sonata (1943), Woodbury Liederbüchlein (1941), and Hollywood Songbook (1942-7). This thesis builds upon unpublished correspondence and documents available only in special collections at the University of Southern California (USC), as well as film scores in archives at USC and the University of California, Los Angeles. It also draws on Eisler studies by such European scholars as Albrecht Betz, Jürgen Schebera, and Horst Weber, as well as on research of film music scholars Sally Bick and Claudia Gorbman. As there is little written on the particulars of Eisler's American years, this thesis presents new facts and new perspectives and aims at a better understanding of the artistic achievements of this composer.Dissertation/Thesis
M.A. Music 2013
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Hügler, Rebecca Octavia. "BETWEEN HEIMAT AND FREMDE: NEW CONFIGURATIONS OF HAPPINESS IN CONTEMPORARY GERMAN LITERATURE AND FILM." Thesis, 2013. http://hdl.handle.net/1974/8060.
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This thesis investigates representations of happiness in recent German literature and film. The interpretations focus on how happiness is negotiated in the context of home and travel, of Heimat and Fremde, in order to understand happiness, not only insofar as it contributes to “the good life”, but also as an element that shapes public discourses. My readings of works of fiction take into account how notions of happiness have shifted since the turn of the millennium. One reason for this shift is the heightened interest in happiness research, one of the most thriving interdisciplinary research fields of the last decade, which includes disciplines such as psychology, neurosciences, political science, sociology and economics.
The following texts and films are examined in this context: Sommerhaus, später (1998) and Nichts als Gespenster (2003) by Judith Hermann, Transfer Lounge (2003) by Gregor Hens, Die Habenichtse (2006) by Katharina Hacker, Head-On (German: Gegen die Wand, 2004) by Fatih Akın, When We Leave (German: Die Fremde, 2010) by Feo Aladağ, Der Blick hinab (2007) by Shirin Kumm, Unveiled (German: Fremde Haut, 2005) by Angelina Maccarone, Cherry Blossoms (German: Kirschblüten – Hanami, 2008) by Doris Dörrie and Zehn (2010) by Franka Potente.
My theoretical framework is informed in part by Sara Ahmed’s 2010 influential study, The Promise of Happiness, which takes a critical view toward recent happiness research from a cultural studies perspective. My analysis is directed at the ways in which concepts of happiness are narrated, negotiated and challenged within the context of transnational stories, which are inscribed with the effects of “supermodernity” (Augé) in a globalized world. I show how these works subvert themes and motifs that are associated with happiness, such as home and Heimat and travel or migration into the West. Finally, my readings show how these works mediate and reflect public dialogues and traditional notions about what makes us happy or unhappy, and I demonstrate how new configurations of happiness arise from these narratives.Thesis (Ph.D, German) -- Queen's University, 2013-05-30 17:42:26.632