Dissertations / Theses: 'Digital media and motion pictures'

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Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.

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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD

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Jutterström, Ellinor, and Alexander Johansson. "Meeting Monsters - How Interactivity Affects the User Experience in Digital Motion Picture Horror Stories." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-188631.

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As media over the last decade has become increasingly interactive, the user’s role as the previously passive observer has shifted to an active role playing its own part of the experience. The same development can be seen in storytelling, where traditional narrative techniques are often combined with modern technology in order to create a new level of immersion, aiming to provide the user with the feeling of “being there”. The aim of this study is to practically investigate interactive storytelling and see how different levels of interactivity affects the general user experience within the horror genre, and if there is a connection between interactivity and the feeling of immersion. In doing so, we hope to investigate how the use of interactivity can be further developed in order to increase the immersive storytelling experience. The study was conducted by having a number of test subjects view five horror stories produced like short horror films mixed with different interactive techniques and answer questions about their experience. Additionally, the participants’ heart rates were monitored during each session. The study revealed that the higher the level of interactivity, the less immersed the user felt, which contradicted the hypothesis that increased levels of interactivity would increase the feeling of immersion. Meanwhile, interactive elements were generally more enjoyed. From the results it could eventually be concluded that it is not the interactivity per se that has the potential to increase the immersive experience, but the ability to let the user interact without any perceived restrictions. In other words, for interactivity to not inhibit the feeling of immersion, it must befit the story and have natural implementations of the controls in order to not steal attention from the content.
Samtidigt som media under det senaste decenniet har blivit alltmer interaktivt så har användarens tidigare roll som passiv åskådare skiftat till att istället vara en aktiv del av upplevelsen. Samma utveckling kan ses i historieberättandet, där traditionella, narrativa tekniker ofta kombineras med modern teknologi för att skapa en ny nivå av inlevelse med målet att förse användaren med känslan av att ”vara där”. Målet med denna studie är att praktiskt utreda interaktivt berättande och se hur olika nivåer av interaktivitet påverkar användarens generella upplevelse inom skräck-genren, samt om det finns ett samband mellan interaktivitet och inlevelse. På så vis hoppas vi på att utreda hur användandet av interaktivitet kan fortsätta att utvecklas för att förstärka känslan av inlevelse i historieberättandet. Studien genomfördes genom att låta ett antal försökspersoner se fem korta skräckfilmer med olika interaktiva tekniker, för att sedan svara på frågor om upplevelsen. Deltagarnas hjärtfrekvens mättes även under varje delmoment. Studien pekade på att ju högre nivå av interaktivitet, desto mindre kände användaren inlevelse, vilket gick emot hypotesen att högre nivåer av interaktivitet skulle öka inlevelsen. Samtidigt visade det sig att de interaktiva inslagen generellt uppskattades mer av användarna. Från resultatet kunde så småningom slutledas att det inte är interaktiviteten i sig som har potentialen att förstärka inlevelsen, utan förmågan att låta användaren interagera utan några upplevda begränsningar. För att interaktiviteten inte ska hämma känslan av inlevelse måste denna med andra ord passa berättelsen och använda sig av kontroller med naturlig känsla för att inte stjäla uppmärksamheten från innehållet.

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Hall, Stefan. "“You’ve Seen the Movie, Now Play the Game”: Recoding the Cinematic in Digital Media and Virtual Culture." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300365433.

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Jones, Sarah B. "Digitized : women, careers, and the new media age : a heuristic analysis." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397377.

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This project presents an overview of the entertainment industry's acceptance of women historically within its job market and a changing climate due, in part, to emerging digital technology. Findings suggest the female-disadvantage in procuring a behind-the camera job in the entertainment industry is on the decline. Also, the disparity between the number of women versus men working in this industry appears to be narrowing. New technology seems to be speeding up these processes, due largely in part to its relatively low cost and accessibility. An apparent shift in societal views of gender roles couples with this new technology to help level the career field between men and women in this new media age. This project also serves as a reference guide for individuals seeking to enter a career in the entertainment industry.
Department of Telecommunications

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Santos, Sillas Carlos dos. "O processo criativo para roteirização nas mídias digitais : os casos de Anymalu e Agência Transmídia /." Bauru, 2019. http://hdl.handle.net/11449/183165.

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Orientador: Antonio Francisco Magnoni
Banca: Marcos Américo
Banca: Glaucia Eneida Davino
Resumo: Discute-se a influência do advento das mídias digitais no processo de criação de roteiros para produções audiovisuais ficcionais brasileiras. Contextualiza-se a relação entre tecnologias e narrativas e também da produção de roteiros audiovisuais. Em seguida, discute-se esta influência a partir de um estudo de caso múltiplo, acompanhado de entrevistas em profundidade com criadores de produções brasileiras para mídias digitais
Abstracts: This discusses the influence of digital media in the process of creating Brazilian fictional screenplays. It adresses the relationship between technologies, narratives, and screenplay production. Then, this subject is approached from a multi-case study and in-depth interview with creators of Brazilian productions
Mestre

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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.

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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.

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OLSON, PHILIP. "An Examination of the Effects of Broadband and Digital Technologies on the Distribution and Exhibition of Motion Picture and Television Content." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1449960177.

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Westling, Jonas. "HDR and the Colorist : How new technology affects professionals in the motion picture industry." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30398.

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By utilizing a Research through Design approach this master thesis studies how technological changes might affect professionals working in the motion picture industry, specifically; how the advent of HDR (High Dynamic Range) affects the colorist. The research questions formulated are the following; (1) How can color grading in HDR be approached? (2) What effect can HDR have on visual modality? (3) What specific affordances can HDR offer the colorist? (4) How can HDR affect the creative space of the colorist? Three of the research questions are derived from the theoretical framework applied in this master thesis; starting with the social semiotic implementation of the term modality (models of reality), the Gibsonian term affordance (possibilities for action and meaning making) and its use in communications research, and lastly; the concept of creative space in motion picture production. Analytic autoethnography was used to generate primary data by documenting the process of color grading a 13-minute short film, and also performing semistructured interviews with four colorists. Amongst other findings, this study found that HDR offers a wider range of modality expression than SDR (Standard Dynamic Range); regarding several visual modality markers. Four HDR-specific affordances were formulated; (1) color expandability, (2) highlight differentiability, (3) tonal rangeability, (4) brightness disturbability. Relating to the concept of creative space; the colorists expressed a concern that they will have to create multiple versions when delivering HDR, but not get a bigger budget for it, therefore having less time to spend on other aspects of color grading.

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Bode, Lisa Merle Theatre Film &amp Dance UNSW. "From shadow citizens to teflon stars : cultural responses to the digital actor." Awarded by:University of New South Wales. Theatre, Film and Dance, 2005. http://handle.unsw.edu.au/1959.4/20593.

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This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.

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Arthur, Tori. "The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467889165.

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McWhirter, Andrew Christopher. "Film criticism in the digital age." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5165/.

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In a period of proposed crisis and disruptive transformation to media, journalism and criticism, this thesis provides a comprehensive analysis of English-language film criticism by offering an empirically-grounded study of observations and interviews with some of the world’s foremost film critics and editors from influential publications such as Cineaste, CinemaScope, IndieWIRE, The Guardian, Reverse Shot, Sight & Sound and Variety. These expert opinions are not only situated in the wider context of historical perspectives on criticism from ancient and modern origins, but also positioned against on-going debates into journalism and digital media which often denote a landscape characterised by both continuity and contestation. The findings are drawn from extensive fieldwork in the UK and North America taking place at two major international film festivals in Edinburgh and Toronto, supplemented with additional interviews with film critics from each of these regions. This thesis relies upon a great deal of published literature, from text books and media coverage to film criticism. These materials detail a crisis in criticism and in the culture at large, a prehistory of existing media, concepts around literary and arts criticism in general, and provide the means for a detailed model on Six Schools of Contemporary Film Criticism to be posited. A combination of desk research with participant observation and in-depth interviews has led to and strengthened the overall findings which conclude that film criticism in the contemporary digital age is defined by more continuity than disruptive transformation. While this prosaic – but not myopic – approach to film criticism highlights the habits and norms of film critics it also notes the significant changes taking place through the interactions of individuals and institutions with technologies. However, while transformations are acknowledged and new events specified – indeed the theme of change gives shape to the findings chapters in terms of a chronology of the new, newer and newest – in print, then online and subsequently towards convergent media forms – it is argued that the long view best serves to counteract hyperbolic discourses on film criticism as dead or inhabiting a new golden age. These empirical findings, in the face of transformative digital idealism, redress the balance and argue the case for evolution rather than the often mooted digital revolution.

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Taniguchi, Carl H. (Carl Hiroyuki). "A study of motion-based detection and removal of defects in digital motion pictures." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/38744.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1995.
Includes bibliographical references (leaves 87-88).
by Carl H. Taniguchi.
M.S.

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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.
This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.

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Goodyer, Meigan Gates. "Literary theory, the novel and science media." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/goodyer/GoodyerM0508.pdf.

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Gallimore, Adam. "Subjectivity, immediacy, and the digital : historical reassessment in contemporary American cinema." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/62970/.

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This thesis investigates various forms of historical reassessment in contemporary American cinema (2005-2013), with a particular emphasis on the role that digital technologies play in re-framing, re-negotiating, and re-vivifying historical figures and events. The focus of this work concerns questions relating to cinema’s relationship with history, and how this has been achieved through changing narratives and film aesthetics. It uses critical analysis to propose that a new range of practices and tools have been utilised to address and challenge conventions of specific historical genres, such as the historical epic, the gangster film, and the biopic. The complex and ambiguous notions of historical narrative and experience, together with continued discourses concerning representation, verisimilitude and accountability, make recent historical cinema particularly suitable for demonstrating this. The Review of Literature addresses three major areas through which this thesis has been conceived and conducted: historiography, historical cinema, and film technologies. It considers a broad range of literature in order to acknowledge some of the wider contexts that will be employed in the discussion of the historical film, and establishes the more specific conditions under which my analysis takes place. The main section of the thesis is divided into three chapters, each of which examining a particular sub-genre of the historical film. Chapter One introduces some of the key issues surrounding historical cinema, discussing the conventions of the historical epic in order to frame our understanding of issues of spectacularity and subjectivity in the genre. I use The New World and Che as case studies to examine the differing practical, aesthetic and narrative approaches to the historical epic, considering the implication of technology in terms of style, approach and implication. Chapter Two deals with the gangster film, using Public Enemies to consider issues of immediacy and immersion within the genre. I also compare modern iterations of the gangster film with its classical, revisionist and retro antecedents, making extensive comparisons with Bonnie and Clyde. Similarly, in my study of the biographical film in Chapter Three, I use Citizen Kane as a contrast to the modern form of the “unconventional” biopic embodied by The Social Network. This genre is considered in light of its aesthetic approaches, generic deviations and developments, the public-private dynamic, and the notion of the American Dream. The thesis concludes with an overview of the aesthetic and narrative approaches studied in this work, and draws attention to the contemporary shift in filmmaking practices and technologies. Given the isolated period of study, I propose ways in which the study could be extended in generic, transmedial and methodological terms, as well as acknowledging the importance of the historical film at the levels of expression, representation, and discourse.

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Kumar, Akshaya. "Provincialising Bollywood : Bhojpuri cinema and the vernacularisation of North Indian media." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6520/.

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This thesis is an investigation of the explosive growth of Bhojpuri cinema alongside the vernacularisation of north Indian media in the last decade. As these developments take place under the shadow of Bollywood, the thesis also studies the aesthetic, political, and infrastructural nature of the relationship between vernacular media industries – Bhojpuri in particular – and Bollywood. The thesis then argues that Bhojpuri cinema, even as it provincialises Bollywood, aspires to sit beside it instead of displacing it. The outrightly confrontational readings notwithstanding, the thesis grapples with the ways in which the vernacular departs from its corresponding cosmopolitan form and how it negotiates cultural representation as an industry. The two chapters in Part I provide a narrative account of the discourses and media-texts that saturate the Bhojpuri public sphere. The prevailing discourses and the dominant texts, the thesis argues, resonate with each other, but also delimit the destiny of Bhojpuri film and media. The tug of war between the cultural and economic valuations of the Bhojpuri commodity, as between enchantment and discontent with its representative prowess, as also between ‘traditional’ values and reformist ‘modernity’, leaves us within an uncomfortable zone. The thesis shows how aspirations to male stardom consolidate this territory and become the logic by which the industry output keeps growing, in spite of a failing media economy. Each of the three chapters in Part II traces the historical trajectory of language, gendered use of public space, and piracy, respectively. In this part, the thesis establishes the analytical provenance for the emergence of Bhojpuri cinema in particular, and vernacular media in general. While Bhojpuri media allows Bhojpuri to seek its autonomy from state-supported Hindi, it also occupied the fringe economy of rundown theatres as Bollywood sought to move towards the multiplexes. If the advent of audiocassettes led to the emergence of Bhojpuri media sanskar, the availability of the single-screen economy after the arrival of multiplexes cleared the space for the theatrical exhibition of Bhojpuri cinema. The suboptimal transactions of counterfeit media commodities, on the other hand, regulate the legal counterpart and widen the net of distribution beyond the film theatre. I argue that the suboptimal practices are embedded within the unstable meanwhile. As an occupant of this meanwhile temporality, Bhojpuri film and media, whether in rundown theatres or on cheap mobile phones, grow via contingent and strategic coalitions. This thesis, then, argues that cinema as a form makes it possible for Bhojpuri speaking society to confront, and reconcile with, its own corporeality – the aural and visual footprints, the discursive and ideological blind spots, and the aspiration to break free. On account of the media economy and its power to ratify a new order of hierarchy via celebrity, Bhojpuri media threatens to transform the social order, yet remains open to the possibility of manipulation by which the old order could rechristen itself as new.

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Chua, Collin. "Re-sounding images: sound and image in an audiovisual age." Thesis, Chua, Collin (2007) Re-sounding images: sound and image in an audiovisual age. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/657/.

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This dissertation examines the evolving articulation of sound and image in contemporary culture, with particular reference to film. It argues that sound and image have undergone a historical machined separation, followed by a machined fusion or recombination. The machined fusion of sound and image has enabled the creation of soundful images, which are more than simply the sum of their parts. Through the infusion of sound, images are now routinely reinforced with a performed sense of presence, where they are made to sound more real, more powerful, more authentic. Through association with the image, sounds are reinforced to the extent of becoming 'realer than real'. By tracing the history of sound and image from their initial machined separation to their subsequent machined fusion, it will be argued that a new relationship has been created that has shaped an influential new mode of communication and perception.

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Chua, Collin. "Re-sounding images : sound and image in an audiovisual age /." Chua, Collin (2007) Re-sounding images: sound and image in an audiovisual age. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/657/.

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This dissertation examines the evolving articulation of sound and image in contemporary culture, with particular reference to film. It argues that sound and image have undergone a historical machined separation, followed by a machined fusion or recombination. The machined fusion of sound and image has enabled the creation of soundful images, which are more than simply the sum of their parts. Through the infusion of sound, images are now routinely reinforced with a performed sense of presence, where they are made to sound more real, more powerful, more authentic. Through association with the image, sounds are reinforced to the extent of becoming 'realer than real'. By tracing the history of sound and image from their initial machined separation to their subsequent machined fusion, it will be argued that a new relationship has been created that has shaped an influential new mode of communication and perception.

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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).

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Rezaei, Rashin Maral. "To what extent are documentary films superior to fictional motion pictures?" Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-94789.

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The aim of this study was to examine if documentaries have become more superior to fictional motion pictures. By focusing on defining the categories and pointing out what their differences are, viewers get a deeper understanding of what the project wants to tell. Even viewing some popular movies that are in its field, will help the conclusion become more accurate. My main source of method will lay in literature but my main focus will be on a survey that will be provided by the answers, to the topic in hand.

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Ng, Kal. "Architectural cinema a theory of practice for digital architectural animation /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4308574X.

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Blasdell, Raleigh. "Reel or Reality? The Portrayal of Prostitution in Major Motion Pictures." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5912.

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This study examined media portrayals of street-level prostitution. The objectives of this research were twofold. The first was to examine the nature of the film industry’s portrayal of females engaging in street-level prostitution in the United States in the following areas: 1) entry into sex work; 2) the economic need behind the women’s involvement; 3) experiences of childhood victimization; 4) presence and role of pimps; 5) drug/alcohol abuse; 6) victimization; and 7) mental/physical health. The second objective was to determine if this media coverage is analogous to extant research on these aspects of prostitution culture. The Unified Film Population Identification Methodology was used to identify 15 major motion pictures depicting street-level prostitution that were released in the United States between 1990 and 2014; these films were analyzed using media content analysis. The review of the prostitution literature (encompassing the disciplines of criminology, sociology, victimology, and health) consisted of an examination of 77 studies. The content of this literature was used to determine if the portrayal of prostitutes and prostitution in film are accurate. In addition, an Assessment Index was created to allow for the comparison of films to characteristics of prostitution in the extant literature. Media content analysis revealed that the films in this study did not accurately portray female street prostitutes; while not necessarily misrepresented, movies tended to provide an incomplete picture of the reality of prostitution. These findings are important because media portrayals of prostitution have the capacity to influence public opinion of prostitutes and prostitution. Overall, films in this sample presented prostitutes in such a way that failed to mobilize moral outrage and did not encourage viewers to care about the issue of prostitution. This can subsequently affect the types of policies they expect legislators to implement and police to employ as a means of responding to prostitution. Therefore, it is important that researchers and educators involve themselves in the social construction of public opinion, thereby having the capacity to offer alternate themes of crime, criminals, and justice. This will allow for a better-educated public to make a distinction between the veracity of prostitution and what is created by the media.

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Warwaruk, Eric D. "The fearful touch of death : the philosophy of death and pain in aesthetics and media." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99398.

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The central question this thesis is concerned with is the question of death: how do we make sense of it? Through philosophical examination, we discover we cannot make sense of death. Death is nonsensical because it cognitively and physically cannot be controlled via a binary context; death becomes something we fear. This fear we feel is, in turn, immune to true catharsis. To control the fear of death to some extent, we suture the fear we experience from physical punishment with our metaphysical fear of death. Thus, the meaning and experience of death become entangled in the binary of punishment and non-punishment. We tentatively argue that this suture is expressed in media texts, such as film; and further posit hypothetically that media texts such as film have the function of either alleviating, or controlling, the fear of death, both in production and reception.

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Ng, Kal, and 吳家龍. "Architectural cinema: a theory of practice for digital architectural animation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4308574X.

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Mosher, Jerry Dean. "Weighty ambitions fat actors and figurations in American cinema, 1910-1960 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959291&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Qin, Liyan. "Trans-media strategies of appropriation, narrativization, and visualization adaptations of literature in a century of Chinese cinema /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258676.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed Jun 4, 2007). Available via ProQuest Digital Dissertations. Vita. Filmography : p. 264-270. Includes bibliographical references (p. 271-284).

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Edison, Alicia Yancey George A. "The impact of the media on biracial identity formation." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-5185.

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Charbonneau, Stephen Michael. "Screen angst young auto-ethnographies and alterity in American documentary /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383469851&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Jones, Auri-Christopher Colin. "Millennial Media a fantasy theme analysis of the short film "Narrow Roads" /." Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.

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Banchuen, Woraphat. "A comparative study of product placement in movies in the United States and Thailand." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3265.

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The purpose of this research was to compare the presence of product placement in movies across two different cultures, namely the U.S. and Thailand. In particular, this research examined the frequency of product placement in movies, the position of product placement in movies, and the target audiences in the U.S. and Thailand.

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Hilliard, James Patrick. "The elements of filmmaking." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.

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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.

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Hidaka, Maho. "An exploration of doubleness through Kieslowski's films and my theatre practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1017.

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This thesis explores the theme of doubleness in the fields of film and theatre. I would like to use the word, “doubleness,” to refer to the wide range of states which contain any dual or overlapping aspects, beyond the normal association of the word, “double,” as meaning, “a person who looks exactly like another.” I also use the word, “doubling,” when I would like to emphasise the act of repeating or overlapping states. I will examine the doubleness not only within or in between characters but also within relationships between the created film world and the real world in which the creators have produced the film reality. The thesis consists of two parts. Part I deals with films by a Polish film director, Krzysztof Kieslowski, in three chapters. Kieslowski is a Polish film director who was born in 1942 and died in 1996. He started his career as a documentary filmmaker and shifted to become a feature film director, which has earned him a great international acclaim. The first chapter will examine the issue of doubleness in The Double Life of Veronlque, focusing on the doubled relation between Weronika and Veronique as well as on Veronique's boyfriend, Alexandre's interaction within this doubled relationship. The significance of Alexandre's occupation as a puppeteer is considered as part of the argument. The doubleness found in the process of the production is also discussed. The second chapter will be divided into three sections in order to discuss different types of doubleness in the three works that constitute a trilogy, Three Colours: Blue, White, Red. The final chapter of Part I will consider the doubling between the creators and the created of these films, focusing on some of the film characters who are seen as doubles of the director and the musical director. His earlier works will also be discussed when relevant throughout these three chapters... Part II introduces my own theatre creations and includes some comparisons with Kieslowski’s films. My theatrical work created during the course mainly concerns the scriptwriting and staging of Cui de Sac and Requiem. Cui de Sac was written and staged and deals with the main characters self-discovery through encounters with her doubles in dream. Requiem was produced in the following year and features an integration of classical piano performance as part of a theatrical piece. Here the central issue is the double personality of her dead twin sister inside her mind. The whole thesis deals with the issue of doubleness in order to explore the significance of understanding this subject for a richer comprehension of films and theatre works; for a better understanding of one's own identity; and for acknowledging the connections between people beyond time and space through this mysterious mediation of doubles.

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Chan, Mei-kuen Elaine. "Expression of modality in the language of the mass media." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21160375.

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Sörling, Marie-Louise, and Viktor Wallgren. "Media Placement of Locations : An Exploratory Study of the Possible Trends within the Film Industry." Thesis, Jönköping University, JIBS, Business Administration, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-159.

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Product placement is a relatively new idea within marketing. Despite this, it has become a more accepted and used concept, especially within the motion picture industry. It has been noticed that exposure on screen has had a positive effect on sales of the showed products, even though there are still no clear method to measure its efficiency. Evidence has shown that there is an increased tourism to destinations exposed on screen. For example, the movie Braveheart increased tourism to Scotland, Notting Hill has brought attention to London’s district Notting Hill, and the books of Wallander has benefited Ystad. We therefore see a possible development of product placement, which so far only has incorporated products, to also include placement of geographical places (cities, region or nations etc), i.e. location placement. The exposures that to this point has occurred has been random, with no active participation from marketers or filmmakers.

Our purpose is to investigate if media placement of locations (defined as paying for the placement) is a possible future source of revenue for location marketers as well as film and product placement agencies.

We have interviewed people from three main areas: marketer of a geographical location, product placement agency, and representatives from the film production. Since we had some problems collecting sufficient data, we decided to complement our empirical findings with secondary data.

We see a potential development of location placements. It does however require some conditions to be fulfilled. First, the placement must be seamlessly placed, should lead the story forward and should not be the main focus before the script. Second, the placement must be communicated openly throughout the entire production process and with all parties involved. Finally we see that placement must be founded on good relationships and having the right channels. The actors involved in a location placement are the marketer, product placement agency, location shout, director and other film production crew.

To sum up, a well thought-thru location placement that are consistent with the overall location brand image and the story, would benefit both the location and the film.

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Olivier, Marco René. "Manifestations of nihilism in selected contemporary media." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/437.

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This study focuses on the concept or phenomenon of nihilism, given the regularity with which it manifests itself (to anyone who is aware of it in more or less theoretical or philosophical terms) in all kinds of cultural artifacts such as films, television shows or series, books such as novels or philosophical texts, and magazines. Most of these artifacts can be grouped together under the heading of the media in the present era. The objective of the study is to use the concept of nihilism to identify and analyse selected cases in contemporary media -- in the form of films and television series – to answer the question, with what kinds of nihilism people would come face to face if they knew how to recognize them. The study begins with an outline of a theoretical framework concerning the concept of nihilism. A number of thinkers’ work is used to come to grips with the complex phenomenon, but mostly it is Nietzsche whose thought seems to be valuable for present purposes. In the second chapter the spotlight falls on what is called (in this study) ‘capitalist nihilism’, which seems to belong with what Nietzsche called ‘passive nihilism’, but also seems to exhibit some aspects of ‘active nihilism’. The third chapter is an examination of nihilism in a foreign (Japanese) culture by concentrating on Japanese anime, to test the differences between Western (historically Christian) culture and one with a different cultural and religious history. The last chapter consists of the analysis of a specific (Western) film, I ‘heart’ Huckabees, which was selected because of the variety of ‘nihilisms’ found in it. The study seems to confirm that nihilism is indeed widespread in contemporary, postmodern culture.

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Wells, Diane. "Modelling problems of independent sector media : an analysis of market-production relationships with reference to independent film and video in Canada." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63882.

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Benagr, S. "Cinema and new technologies : the development of digital video filmmaking in West Africa." Thesis, University of Bedfordshire, 2012. http://hdl.handle.net/10547/233600.

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This research investigates the development of digital video filmmaking in West Africa using Ghana and Burkina Faso as case studies within the context of new technologies. The key research questions that guided the study were how do the economic, social and political contexts of video filmmaking affect the development of a digital video film industry in Ghana and Burkina Faso? and how have the perceptions of digital technologies (held by filmmakers and other stakeholders) impacted upon the development of digital video film making in West Africa? Using field interviews with stakeholders in the video film industry in Ghana and Burkina Faso, as well as with the West African diaspora community in the UK, document research, textual references, and personal observation, the research discusses the challenges of new digital and video technologies, and their implications for the development of the video film industry. The research establishes that video and digital technologies are offering many people the opportunity to make films. There is however, a plethora of new digital technologies that enable the work of video film producers, which require closer examination. The research suggests that the impact of the digital revolution has been limited, and a number of factors account for this. The study offers recommendations that might contribute to discussions on finding solutions to the development of a professional, regulatory and practical video filmmaking environment. This would lead to the formulation of policies that impact positively on filmmaking in the region, and consequently increase the capacity of local productions to compete on the international film scene.

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Mecklai, Noorel-nissa S. "Abrogated identity : Muslim representation in Hindi popular cinema 1947-2000." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/352.

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This thesis asks the question: How do the representations of Muslims in Hindi Popular Cinema deny the community identification with the nation. It establishes Hindi cinema as the 'de facto' national cinema and explores the nature of identity and communal relations between the two major Indian religious communities, Hindus and Muslims through an analysis of popular films. It identifies an imbalance in representations of Muslim life where few films show Hindus and Muslims as sharing social and cultural life or where Muslims are represented as modern subjects: an absence of films on 'partition', the division of the country which occurred at the moment of independence, in August 1947; and reproduces stereotypical representations of Muslims as 'the outsider', the villain, or the terrorist at different times in history. The thesis considers the impact of the animosity between Hindus and Muslims concurrent with the rise of Hindu nationalism on Hindi cinema's representations of Muslims. These cumulative representations and absences result in the abrogation of identity for them as citizens through public culture. But it also sees that the complete disavowal of this cinema is problematic for the Muslim participation in the industry, the possibility of the Muslim spectator pleasurable reading of Hindi films; and the observation that representations change over the period in question. The representations broadly move from the secular to the bigoted over the course of the period under consideration.

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Boswell, Brian T. "From scat to satire toward a taxonomy of humor in twentieth century American media /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/637.

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Vermeulen, Monique. "An investigation into the representation of the mentally ill in popular film." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/800.

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There is a common perception that media depiction of mental health and illness is overwhelmingly negative and inaccurate. Media portrayal of mental illness is also viewed as an important element in forming and influencing society’s attitudes towards mental health issues, although there is no causal link to prove this. People with mental illness are most commonly shown as being violent and aggressive. Movie stereotypes that contribute to the stigmatisation of mentally ill persons include the mental patient as rebellious free spirit, homicidal maniac, seductress, enlightened member of society, narcissistic parasite, and zoo specimen. The profession of psychiatry is, has always been, and will likely continue to be a much enjoyed subject among filmmakers and their audiences, as it tends to provide exciting and emotionally compelling opportunities to portray personal struggles feared by most of humanity. This research will analyse the entertainment media in an attempt to provide evidence to support the above statement. The research will, furthermore, analyse the manner in which entertainment media represent the mentally ill with reference to popular films invariably produced in the US

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43

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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44

Walkley, Sarah Elizabeth. "To what extent can France continue to defend the cultural exception in the digital age? : an analysis of cultural diversity in the French film industry." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80230/.

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Since the first General Agreement on Tariffs and Trade in 1947, France has insisted that cultural products are different from other traded goods and should be exempted from ongoing liberalisation of international trade – a principle known as the ‘cultural exception’. This exclusion allows France to implement policies in favour of its cultural industries, particularly a highly complex system of quotas and subsidies for the film industry which it maintains is essential to counter US market dominance and maintain cultural diversity. Over the past decade, the launch of video-on-demand services has revolutionised how films are delivered and consumed. Policy-makers have attempted to keep pace with these developments, expanding the scope of French support schemes accordingly. Adopting a mixed methods approach, this thesis analyses cultural diversity in the French film industry in detail, incorporating for the first time both the cinema and video-on-demand sectors and combining qualitative and quantitative data to understand the impact of French policies on diversity. Quantitative analysis reveals strong evidence of diversity in both sectors but that, while digital channels offer greater variety of choice, cinema is more balanced between films of different geographic origins. Employing a consistent approach to policy development in both channels, policy-makers have failed to take into account these and other differences, or to target measures at the emerging threats to diversity in the digital environment – potentially undermining the French defence of the cultural exception on diversity grounds. There is a surprisingly superficial use of the term cultural diversity in trade circles, leading to the conclusion that a more sophisticated approach is needed. Refining French policy in line with empirical data and actively using that evidence to demonstrate policy success will be a necessary part of this more sophisticated approach if France is to successfully defend the cultural exception in future trade negotiations.

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Campbell, Robin Rhodes. "Images of ethnicity in pornography." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/695.

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46

Cohen, Hart K. "From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.

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An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference is retreivable in the terms set by ethnography. The emergence of the indigenous ethnographer has consequences for understanding the problems in the relations between Western and non-Western cultural formations. As a means through which a culture or nation may represent its own historical evolution, indigenous media is also, however, a discourse in formation--characterized by heterogenous claims and practices.

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Lin, Shu-Fang. "Media enjoyment as a function of individual responses and emotional contagion." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123862440.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 126 p.; also includes graphics. Includes bibliographical references (p. 119-126). Available online via OhioLINK's ETD Center

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Chan, Mei-kuen Elaine, and 陳美娟. "Expression of modality in the language of the mass media." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951831.

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Carr, David Jasun. "An investigation into the comparative cognitive impact of conventional television advertising and product placement." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2005. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S. )--Kutztown University of Pennsylvania, 2005.
Source: Masters Abstracts International, Volume: 45-06, page: 2705. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 69-75).

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Schroeder, Kathleen Mary. "The female voyeur and the possibility of a pornography for women : redefining the gaze of desire." Thesis, University of South Africa, 2000. http://hdl.handle.net/10500/3079.

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Dissertations / Theses on the topic 'Digital media and motion pictures'

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