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Hilton, David Edward. "Film and the Dartington experience." Thesis, University of Plymouth, 2004. http://hdl.handle.net/10026.1/1730.
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This project is a study of Dartington under the leading question 'What is Dartington?' and comprises a number of interlinked methodological phases of enquiry. The first explores Dartington's use of film as a process of documenting its experimental activities, and as a commercial product in the form of the films made and distributed by the Dartington Hall Film Unit. The second strategy engages with archive film materials in the production of compilation videos, which were then developed into a series of Photoworks designed to facilitate a personal interpretation of its particular history. The third approach resulted in the production of three forty minute videos {After the Facts 2003) which articulate an understanding of Dartington's history of engagement with film, a personal experimental engagement with filmmaking, and an interrogation of the possibilities of applying a particular reading of the experimental ethos of Dartington to a filmic practice. A pervading concern has been with the mythic nature of Dartington during the inter-war years and the function of the filmic form in myth generation and perpetuation. The final part of the project presents an overview of these strategies, assessing their successes and limitations. By the ordering of the visual archive, the creative juxtaposition of historic and contemporary images in the Photoworks, and the interfacing of place and self in After the Facts the intention has been to show the ways in which a creative practice has been able to understand Dartington as a changing and variable experience.
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Camargo, Sandy. "Once more with feeling : film genre and emotional experience /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.
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Gordon, Stephani Rae. "Film and the illusion of experience." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/gordon/GordonS0510.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2010.Typescript. Chairperson, Graduate Committee: Dennis Aig. Chasing birds in Beringia is a DVD accompanying the thesis. Includes bibliographical references (leaves 34-39).
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Rocha, Antunes Luis. "The multisensory film experience : a cognitive model of experiential film aesthetics." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62461/.
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This thesis introduces the concept of the multisensory film experience through a cognitive model of experiential film aesthetics in which we argue in favour of the idea that spectators can have perceptual experiences of film in the realm of thermoception, nociception and the vestibular sense-all of which are senses outside of the classic senses of sight and hearing examined in the context of film studies. We examine each of these senses in relation to the work of three contemporary film directors who have taken stylistic and experiential advantage of these senses to build their own authorial voices, namely, Gus Van Sant, Ki- duk Kim and Knut Erik Jensen. We employ a combination of arguments from the field of multisensory studies (neuroscience) and cognitive film theory and from our own analysis of the stylistic elements of film. We call this a model of 'experiential film aesthetics' because of the intersection between stylistic elements and spectators' own perceptual mechanisms. Experiential film aesthetics are, therefore, a film experience that involves not the conventional idea of watching film in a perceptually detached manner but rather the idea of perceptually participating with senses that have no direct stimulation but rather indirect stimulation through visual and aural information. In this sense, we explore our proposed viewpoint, which is characterised by the apparent paradox that the film medium in its conventional audio-visual form is a sensory gateway to a multisensory experience. These experiential film aesthetics can serve as a useful introduction to further investigations of the experiential nature of film and across sensory modalities that have not yet been examined in film studies.
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Dadgarnia, Alireza. "Film as home : accented film practice and the materiality of displaced lived experience." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68843/.
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Duck, Stephen R. (Stephen Randall) 1968. "Architecture as film : animation and the phenomenological experience." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/73349.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 91-93).
In his film L'Awentura, Michelangelo Antonioni develops startling relationships between his characters and their surroundings. This thesis proposes to use a portion of his film as a precedent for both the architecture's dialectic with its surroundings and the realization of internal spatial disposition. Just as Antonioni uses the camera to amplify juxtaposed psychological states, the design for this Mediterranean cultural center and resort, set in Playa de Granadella, Spain uses different spatial elements to explore the division between the elements--earth, water and sky. To analyze the film, a methodology involving analysis, recombination, and interpretation was developed. This methodology allowed deeper exploration of the complex relationships between the characters and the landscape within Antonioni's film and a better understanding of the underlying themes behind these relationships. The methodology was then used to inform and inspire the design of the resort.
by Stephen R. Duck.
M.Arch.
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Wang, Xiwen. "Xin Yi: A Dramatic Exploration of International Student Experience." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1081.
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The paper identifies the lack of representation of the international student experience on screen and examines how Xin Yi is a film script that explores this subject matter. The analysis provides a survey of film and television that addresses similar topics and uses the theoretical framework of exilic filmmaking by Hamid Naficy. Xin Yi revolves around a Chinese mother-daughter relationship. The mother visits her daughter who studies in the U.S during Chinese New Year and reveals her divorce before she departs.
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Mazzoni, Antonella. "Mood Glove : enhancing mood in film music through haptic sensations for an enriched film experience." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/39757.
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This research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of film audiences and might also have implications on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by film music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and film music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.
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Laamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.
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Weidinger, Eli Benjamin. "The Sopranos Experience." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4610.
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My thesis explores what I call the "Sopranos Experience," which draws upon both the historical conventions of the gangster genre as well as the aesthetics and economics of pay-cable television to complicate The Sopranos' (HBO, 1999-2007) psychological relationship with the 21st-century, neoliberal American audience. The Sopranos Experience explicates how wavering identifications and dis-identifications that develop for the spectator through the series' form and content draw the responsibility of an audience away from moral ultimatums that attempt to finalize their experience with the genre, and towards a more personal ethical entanglement with the characters and their socioeconomic anxieties and desires. The ethical entanglement highlighted by The Sopranos reveals an entanglement that has always existed for the gangster genre throughout its history that has been recognized, but not thoroughly explored by previous gangster scholarship.
Because of the The Sopranos' psychotherapy story arc through Tony's (James Gandolfini) relationship with Dr. Melfi (Lorraine Bracco), psychoanalysis plays a key role in the Sopranos Experience. The serial form and narrowcasting develop a more in-depth psychological relationship between the spectator and the characters than seen in previous gangster genre films. Through the psychoanalytic theory of Jean Laplanche, I argue the spectator's closer relationship with the series not only results in the spectator's constitution of self through the fictional characters, but that this constitution of self extends into their lived, everyday experiences with others.
In this discussion of the psychological connection between the spectator and the characters, their shared anxieties about and desires for socioeconomic stability in a neoliberal environment mobilizes the spectator's relationship not just with the series, but with others in their lives. In recognizing their atomized role in the viewership experience, The Sopranos allows the spectator to make ethical demands about their atomization and vulnerability in a neoliberal society. Because they can recognize the collective's similar situation, the spectator is situated to make larger demands about socioeconomic systems that atomize the individual.
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Norris, Jane M. K. "Viatopias : exploring the experience of urban travel space." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/7466/.
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The title of this research is constructed from: `via' - route and töp(os) -a place. Viatopias are urban spaces of continual travel or flux that incorporate multiple forms of perception and inscriptions of meaning. My aim has been to define and describe the increasingly important fluid perceptual spaces that have developed between static nineteenth century destinations. Viatopias such as passageways, underground tunnels, train tracks, and the North Circular escape a sense of destination, operating as ever-changing experiences or events. The practice has sought to produce digital representations of these urban travel spaces that exist in constant flux, to communicate the experience of Viatopias. The research explores themes such as: The North Circular as a Deleuzian Route exploring driving as performance; Plica, Replica, Explica an unfolding of experience through digital media; The Making of Baroque Videos, using Baroque architectures of viewing; Mobilizing Perception treating human vision as an artifact; Mirrors For Un-Recognition disassembling nineteenth century controlled vision; Sound as an Urban Compass considering urban audio experience; Narrative Practice in New Media Space analysing contemporary approaches in digital media; and Convergent Languages, Digital Poiesis investigating the dislocation of representation in different digital languages. These conceptual frameworks developed in symbiosis with the practice. The visual practice presents a collection of digital videos that extend and complicate these concepts through experimental visual and audio techniques such as layering, repetition, anamorphic distortion, and mirroring to produce visual immersion and the fracturing of space. The concluding digital works incorporate video with audio and text resulting in integrated visual statements that attempt to stretch the viewer's perception, in the process offering a glimpse of a new experience within urban space.
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Malmgren, Johanna, Louise Johansson, and Caroline Nilsson. "Musik sätter ton i film : En studie om filmmusiks betydelse för film och dess upplevelse." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-60216.
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Syfte Vårt syfte är att utreda och analysera vad som karaktäriserar filmmusik samt klarlägga musikens betydelse för film. Forskningsfrågor På vilket sätt kan film och musik influera varandra och hur kan samspelet mellan dem se ut? Hur kan musik användas som ett verktyg för att påverka helhetsupplevelsen av film? Metod Vår studie är av en kvalitativ karaktär grundad i ett växelspel mellan en induktiv och en deduktiv ansats. Empirisk data baseras på sju semistrukturerade intervjuer. Slutsats I studien har vi kommit fram till att filmmusik har stor betydelse för kundens slutgiltiga upplevelse av en film. Filmmusik kan fungera i ett sätt att guida konsumenten genom filmen och ta till sig det uttryck som vill förmedlas. För att musiken ska få sin ultimata kraft bör det finnas en fin balansgång i samspelet mellan komponenterna. Det finns ingen mall att följa när det kommer till musiksättande i samband med film, sammanhanget är det som spelar roll. De båda medieformerna kan vid rätt balans sinsemellan höja och även dra fokus till varandra.Purpose Our purpose of this study is to investigate and analyse what characterises film music and what makes the music significant for film. Research questions In what way can film and music influence each other and how can the interaction between the two take form? How can music be used as a tool to influence the general experience of the film? Method Our method in this study is based on a qualitative approach with an interplay between an inductive and deductive hypothesis. Empirical data is based on seven semi structured interviews. Conclusion Our study has shown that film music has great impact on the customer's experience of a film. Film music can work as a way to guide the consumer through the movie and absorb the expression that is transmitted. For the music to reach its full potential there should be a balance in the interaction between the components. There is no specific right or wrong when it comes to putting music into films, it is the context that matters. With the right balance both forms of media can accentuate and market each other.
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Bustos, Christian. "Implementing implicit interaction in interactive film." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30481.
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In this paper, an user study will be taken on in order to explore how different types of interaction affect the levels of immersion and experience within interactive film. The two different types of interaction that will be compared in this study are implicit interaction, and explicit interaction. The format of interactive film has not experienced too many changes the last years, and the user could experience a loss of immersion when using the format as it is shaped today. Usually, interactive films interrupt the flow of the narrative in order to give the user the time to make a choice. This makes the immersion get lost, and in some way, even part of the experience. In this paper, implicit interaction will be implemented within interactive film, and it will be tested by several participants from different disciplines. One hypothesis is that the users are more immersed in the narrative when trying out implicit interaction in an interactive film. The results of this paper could be useful for the community of computer entertainment, but also for the field of interaction design since this paper could reveal how users experience implicit interaction and how designers should approach to this type of interaction.
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Mitchell, Clayton. "Beyond the film : using the internet to enhance the experience for experiential products /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2727.
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Whitehouse-Hart, Joanne. "Subjectivity Experience and Method in Film and Television Viewing : A Psycho-Social Approach." Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522304.
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This is an interview-based piece of psycho-social phenomenological audience research, based on eleven interviews and a series of letters with six working class participants using a psychoanalytically informed method: Free Association Narrative Interviewing. The research aimed to create an in-depth study of the emotional, affective and biographical relationships with 'favourite' film and television texts and also texts that have had an emotional 'impact' on the viewer. The research brings together and develops psychoanalytic film theory and sociological and cultural studies approaches to media audience research to explore this phenomenon. Filmtheory has traditionally utilised textual analysis as a method and the audience has been figured in response to the text. Media and Cultural Studies research into audiences has utilised 'textual' approaches and analysed reading and interpretation of texts. Another strand of empirical audience research exists which relegates the text in favour of an approach concerned with understanding the practices and politics of viewing. Film theory has traditionally found psychoanalysis a useful analytic tool, whilst empirical audience research, interested in both reception and uses, has preferred sociological and cultural interpretive paradigms. These differences of approach and focus have often prevented dialogue between various disciplines -film, media and cultural studies - with regard to audiences. This research attempts to bridge some of these divisions by focussing on both the reception of texts and also viewing practices. Iargue for a method retaining textual analysis as part of a multi-layered method, which includes interviews, and sociohistorical analysis. The research utilises and evaluates psychoanalytic concepts and ideas and begins from the historically contextualised position that audiences now view in a post-cinematic era. I use this term not to signify the end of cinema, but to point to the developments in home viewing, which mean films are not always viewed in the cinema. Also such developments suggest that film theories that are based heavily on the cinematic viewing situation may need to be re-evaluated. Theoretically, the research does not reject what have been hegemonic poststructural models but seeks to enhance established approaches by also utilising perspectives from a range of psychoanalytic perspectives including object relations. The sample of interviewees contains participants from across the age spectrum to explore the experience of technological and social change from different vantage points. The impact of developments such as time shift technology, video and DVD on the relationships with texts and the viewing practices of audiences are examined. Following this, a central research question concerns the ways in which personalising viewing technologies have their own subjective impact upon memory, identity and family relationships. Therefore the home, where most of this technology is located and used is explored as a unique viewing space. The research data provides rich accounts of viewing experiences and the uses of texts and viewing practices in everyday life. New light is shed on established and important concepts in media and film such as identification. The research found examples of forms of identification that have not been explored in previous media and film research for instance intergenerational, sibling, biographical, idiomatic and 'emotional' identification with texts. Other findings included the use of texts to address personal trauma and anxiety resulting from the lived experience of social mobility in what Ulrich Beck has called 'new modernity'. These findings add to the understanding of the experience of viewing and the way media texts are made meaningful and used by audiences. Alternative conceptual models are offered to enhance established approaches. Bion's work is used to understand how film and television visual 'moments' or moments from plot development are used in 'thought'. The work of Bollas and his concepts of idiom, and six forms of object 'use' help to explain the relationship between taste, trauma and the lived experience of social class. Repetition compulsion and afterwardsness explain the significance of memory and experience in viewing practices and favourite texts. The research evaluates some established post-positivist critiques of method and knowledge production and argues that psycho-social methods are effective and workable. The combination of case study and Free Association Narrative Interview Method used demonstrates that it is a viable and effective approach to interviewing for media and film research. It is shown to be particularly effective for generating narratives with biographical and emotional significance. The method is also shown to be an appropriate method for psychoanalytically informed audience research when combined with other methods such as textual analysis.
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Zhao, Zhi Long. "Chinese Passenger :an experimental short film focusing on Chinese inland immigrants' living experience." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953729.
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Suazo, Zepeda Jose Emilio. "The spectator of modernity : a practice-based investigation into the process of film reception in the context of the modern era." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6342.
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The Spectator of Modernity is a practice based thesis that investigates the process of Film Reception from the perspective of the film as experienced by the individual and her/his apprehension of the interaction between the fictional world on screen and the everyday world. The written component of the project positions the historical context and explores the theoretical notions for the understanding of film-viewing as a decidedly modern activity of special significance for the individual's permanent quest for meaning. Accompanying the written element, an original audiovisual piece amalgamates the real life testimonials of memorable film experiences which form the qualitative analysis of the research, with the story of a fictional character wandering in the location of the city. The activity of the character, driven to investigate the memorable film experience and in permanent search for a way to reengage in a meaningful relationship with everyday reality, is argued that is analogous to the activity of film-viewing. Following the considerations of the theory and the findings of the qualitative analysis of the project, the audiovisual piece suggests that watching a film is as a form of flanerie carried out inside the cinema, through which the individual seeks to assign meaning to the transient and fragmented events of modern life.
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Vollbrecht, Ralf. "Typen der Zeiterfahrung im Film „Das Ende des Regenbogens“." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-195941.
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Am Beispiel einer Filmanalyse zum Film „Das Ende des Regenbogens“ wird gezeigt, wie sich mit medienpädagogischen Mitteln pädagogische Themen erschließen lassen. Für den biografie-theoretischen Kontext des Filmseminars ist hier als Interpretationsperspektive die Zeiterfahrung von Jugendlichen gewählt wordenAt the example of a film analysis to the film „Das Ende des Regenbogens“ (The End of the Rainbow) is shown how with media-educational means educational subjects can be opened. For the biography-theoretical context of the film seminar the time experience of young people has been chosen here as an interpretation perspective
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Solomon, Evan 1968. "The cinematic experience and popular religion : understanding the religious implications of a cult film." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22503.
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An examination of the Rocky Horror Picture Show illustrates the various ways in which the cinema is closely linked to religious experience. The audience participates in the narrative of the film on both conscious and unconscious levels in the same way as the ancients participated in their myths during ritual ceremonies. Moreover, the audience shifts its mode of cognition in order to appreciate as truth the fantastic events which occur both on and off the screen. Finally, I argue that cult films function as parable in dominant cultures and therefore as primary manifestations of the "counter-civil religion". In this way secular films have more profound religious implications than is at first apparent.
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Kendall-Bush, K. J. M. "Walking pictures : the ambulatory experience of London in walking tours and film, 1880-1939." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427433/.
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“Walking Pictures” is about how tourists walk London. It studies two ways of walking the city: walking tours and film. My thesis demonstrates how each is implicated in the other’s practices. Combining historical research of the development of tourist walking between 1880 and 1939 with cinematic textual analysis of London-set non-fiction and fiction films of this period, I ask: how might the views and experiences of London’s walking tourists be imbricated within the city’s cinematic incarnations? I focus on a period between 1880 and 1939, when large numbers of tourists started arriving in London via new modes of mass transport. The development of walking tours for these tourists in the 1880s and 1890s runs roughly tandem to the early days of cinema. Though films taken aboard moving vehicles proved popular, early films were often taken on the ground, embodying a pedestrian view of the city. My first chapter therefore contextualises the thesis by telling a parallel history of tourists walking London’s streets and spectators experiencing those same streets in the cinema. Subsequent chapters follow thematic routes through the city, walking a literary London, landmark London, and an impoverished London. Each chapter asks a series of questions. What were the origins of these thematic routes? How and why did these routes become codified in the form of walking tours? What did tourists see and experience on these walks? How does cinema not only reflect the experiences of tourists, but enable those unable to walk the city’s actual streets to experience them fantasmatically in the cinema? Together these chapters seek to understand the cinematic city through its walks. Contributing to larger discourses in history, geography, and film studies, “Walking Pictures” addresses how representations of the city shape the way we perceive and move through urban space.
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McLaren, Sasha. "Material Synthesis: Negotiating experience with digital media." The University of Waikato, 2008. http://hdl.handle.net/10289/2761.
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Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research.
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Siracusa, Ettore, and ettore siracusa@deakin edu au. "The Cliched gaze of the migrant on the Australian screen." Deakin University. School of Visual, Performing, and Media Arts, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.140940.
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The thesis takes up the question of the representation of the migrant on the Australian screen in terms of a specific set of concerns around the notions of stereotype and self-reflexivity. The stereotype is read as a self-referential image: hence, as a question of film spectatorship and identity; in short as an unconscious reflex or self image.
The text of the thesis is in two parts: part one, comprises the production of the film Italians at home. It is the major component of research and text which, for this purpose, has been copied and submitted hereto on VHS video cassette. Part two, includes an analysis and discussion of the television documentary The migrant experience, and an exegesis, of the production, narrative and reception of the film Italians at home.
The migrant experience is read and discussed as an exemplary text of dominant, stereotyped discourse of cultural difference; while Italians at home is proposed as a parallel text and a self-reflexive reading and criticism of such a text.
Both the television documentary and the film, deal with the representation and problematic of homogenised representations of ethnicity. In the case of The migrant experience, it is argued, that the figure of the migrant as other and self-image, functions as an object of Australian culture and discourse of national identity within a logic of representation of binary structures; while the film Italians at home, the question of self-referentiality is seen in terms of the viewing subject and a problematic of film representation; thus, the film attempts to make such signifying structures, visual codes and agreed assumptions of otherness visible, while, at the same time, attempting to displace them or pose them as a problem of representation or reading for the viewer.
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Runciman, Nicola. "Image, process, experience : exploring the landscapes of Chilean cinema (2008-2014)." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/image-process-experience-exploring-the-landscapes-of-chilean-cinema-20082014(99445434-2fd9-466a-96ec-4f62785fd93f).html.
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This thesis explores representations of landscape in Chilean fiction cinema from 2008 to 2014, through a corpus drawn from the so-called novisimo cine chileno, a generation of young filmmakers who have attracted significant critical attention both within Chile and on international festival and arthouse circuits. The thesis is built on close readings of the selected films within a conceptual framework informed by interdisciplinary perspectives from the developing field of landscape studies. It aims to show how these cinematic landscapes function beyond the limitations of narrative setting or symbolic imagery and are instead represented in ways which capture landscape's processual, experiential and polysemic nature, which in turn throws light on landscape as an approach to a wide range of thematic concerns within these films. It begins by placing the selected corpus within a broader cultural history of the Chilean landscape and maps out the conceptual framework which will be applied and developed through the thesis, considering landscape as experience and process, as well as image. The thesis then sets out the foundations for the thesis' close readings by demonstrating how such a conceptual approach can reveal the inherent tensions of film landscapes - between being inside and outside, contemplation and immersion, proximity and distance - and can also uncover the multisensory and embodied aspects of landscapes on screen, with particular attention to the roles of sound and haptic imagery. In the remainder of the thesis, this approach to landscape is developed through further close analysis of selected films in order to demonstrate how landscape functions in relation to certain thematic concerns - what contact between body and landscape reveals about materiality and mortality, how the cinematic landscape both invites and resists its framing as territory, and how film as a medium has a particular capacity to evoke the multiple temporalities at work within landscape. As a whole, the thesis works to illuminate the aesthetic, formal, narrative and thematic functions of landscape in the chosen films and argues for the usefulness of interdisciplinary conceptual approaches in the study of cinematic landscapes in order to reach a more nuanced understanding of film's representation of the relation of people and place.
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Aydin, Ali. "A "Sensuous" Approach to the Cinema of Nuri Bilge Ceylan : Principles of Embodied Film Experience." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158137.
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Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical approaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the consideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relationship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer.
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Summerhayes, Catherine, and catherine summerhayes@anu edu au. "Film as Cultural Performance." The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.
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This thesis investigates how Victor Turners concept of cultural performance can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtins dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of performance in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed across cultures and which are concerned particularly with Australian societys relationship with indigenous Australians.
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Section One locates Turners concept of cultural performance within his wider theory of social drama and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of liminality is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as for an audience. I describe this relationship between performances in film and theatre through Kristevas interpretation of Bakhtins concept of heteroglossia as intertextuality, especially through her distinction of a transformative intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory:
1. Brechts theory of gest,
2. direct address to the audience in relation to the gaze in film and
3. Rebecca Schneiders conceptualisation of the performance artist.
¶
Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turners concept of cultural performance, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechners performance theory, Michael Taussigs understanding of mimesis, Vivian Sobchacks phenomenology of film, Paul Ricoeurs theory of text as meaningful action, Gadamers concept of meaningful play, Bakhtins conceptualisation of a dialogic text and Catherine Bells theory of ritualised behaviour. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougalls transcultural cinema and Jodi Brooks conceptualisation of a gestural practice in film, which she positions both in terms of Brechts theatrical concept of gest and Walter Benjamins concept of the shock of modernity.
¶
The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who film and people who are filmed. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same social drama: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as fiction and the other as non-fiction towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film a signifying practice which has existed just over one hundred years.
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Dickerson, Allyson. "The Accompanied Experience and the Aesthetics of Memory." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1584.
Full textAbstract:
For me, a memory is the thought of a feeling. Feeling, in this case, is the appreciable radiation of sensory emanating from all objects and persons in a given moment of time. “All thought,
like all feeling, is a relationship between one human being and another human being or certain objects which form a part of his universe” (Astruc). Be it an instance of attraction to another person, a place, a creation, an object, or purely an aesthetic pleasure, said instance will become ingrained as a part of an aggregation of moment-to-moment experiences that form an individual’s universe and lifetime of perceptions. Through film, I hope to give a visual tangibility for such feelings, a replayable, and relatively more permanent, representation. It’s a process similar to the way a headstone memorializes a life. A few words in stone could never measure up to the present time of actually living, but this is because they are not comparable. In much the same way, a synthesized montage of images cannot be compared to a memory, but should be used as way to experience the memory in a new way.B.F.A.
Bachelors
Visual Arts and Design
Arts and Humanities
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Beighle, Kory A. "Actualizing Movements_ Exposing Time in the Everyday Through Systems of Reaction." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892822.
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Lehman, Jeffrey. "The Cinematic Experience Through The Micro-Budget Paradigm." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5805.
Full textAbstract:
The Tailor's Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Paues, Alice, and Hampus Mörner. "Do you want to watch a movie? : A qualitative study of how two audiences in Sweden value external and internal factors concerning their movie consumption." Thesis, Uppsala universitet, Medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-243522.
Full textAbstract:
Titel: Vill du kolla på en film? En kvalitativ studie om hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras filmkonsumtion Författare: Alice Paues & Hampus Mörner Handledare: Lowe Hedman Syfte: Syftet med denna kandidatuppsats var att undersöka hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras film konsumtion. Uppsatsen bygger på en huvudfrågeställning och tre ytterligare frågeställningar: Hur värderar en yngre och en äldre svensk tittargrupp externa och interna faktorer angående deras egna film konsumtion? Vilka externa faktorer har mest värde enligt dessa tittargrupper? Vilka interna faktorer har mest värde enligt dessa tittargrupper? Varierar dessa faktorer beroende på plattform? Metod och Material: Uppsatsen bygger på en kvalitativ metod som genomfördes med hjälp av fokusgruppsintervjuer. För dessa fokusgruppsintervjuer så designades en intervjuguide där frågorna var relaterade till våra tre genomgående teman: externa faktorer, interna faktorer och skillnader mellan plattformar. Frågorna var även guidade av teorier inom vårt ämne. Vi valde att göra ett strategiskt urval. Urvalet bestod av två tittargrupper, en yngre där åldersintervallet var 18 till 33 och en äldre där åldersintervallet var 50 till 65. Huvudsakliga resultat: Det huvudsakliga resultatet från studien visade att den externa faktorn som äldre värderade högst var film kritiker, medan yngre värderade trailers och liknande material högst. Båda grupperna motiverades av samma behov när det gällde film konsumtion. Dock, så värderade yngre kognitiva behov högre än äldre, och äldre värderade känslomässiga behov högre än yngre. Vi fann även att det fanns skillnader mellan olika plattformar, där fyra huvud motivationer värderades olika. Dessa var: sociala behov, flyktbehov, behov att få välja sitt egna innehåll och avslappning. Antal sidor: 60 Kurs: Media- och kommunikationsvetenskap C Universitet: Uppsala Universitet, Institutionen för Informatik och Media Termin: HT 2014
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Hans, Ella. "DEFYING THE MODERNIST CANON: MIKHAIL LARIONOV’S ARTISTIC EXPERIENCE BEYOND THE CANVAS." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/648.
Full textAbstract:
In the contemporary art-historical vision, Mikhail Larionov is renowned as the author and the main figure in the polemical discourse of Neoprimitivism and the inventor of the Rayonism style. These aspects, although crucial to his career, are far from exhausting the artist’s legacy. During his most industrious period, from 1910 to 1915, he was equally, if not more, engaged in the development of new forms of art than in the practice of painting; in fact, the conventional cornerstone of the high art in the era of Modernism – a painting – lost its central position and receded to the status of the peripheral phenomenon in his artistic practice. When considering his position as a central figure in the events of the 1910-1915 in Russia, Larionov’s ambivalence as an artist implies hesitation about the picture of gestalt homogeneity of Modernist discourse (with a painting as the hierarchical apex of high art in the Modernist era) in Russia of the early decades of the twentieth century. While historical evaluation privileges the painting over the non-painting practice of the artist, there is sufficient evidence testifying to the need to consider them as equal and synergetic.
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Scholtz, Loraine. "Waardes, houdings, identiteitsbelewenisse en stres in die Suid-Afrikaanse film- en dramabedryf / Loraine Scholtz." Thesis, North-West University, 2004. http://hdl.handle.net/10394/412.
Full textAbstract:
The South African work environment is characterised by a highly differentiated labour force
regarding culture, race, ethnicity, language, gender and school education. Since 1994 the
focus has increasingly been on getting the labour corps to function at an equal level. As a
result of the historic backlog with regard to training, social development and communication
that prevails among the black labour corps, a breeding-ground for racial and/or ethnic conflict
and stress can arise. Worldwide cultural differences within the same community are by no
means an uncommon phenomenon.
Die aim of this thesis was to establish what the nature and impact of values, attitudes, identity
experiences and stress is among student groupings at the African School for Film and
Dramatic Art (AFDA), as well as to determine the psychometric features of the distinctive
measuring instruments.
This study was undertaken after a decade of political transition in South Africa within a
culturally diverse student population. A once-off cross-section population was used as sample
(n = 247). The survey group consisted of two sub groups: black students (n = 80); white
students (n = 160). Their terms of study at the AFDA ranged from one to four years. Values
were measured by means of the Value Scale of Scholtz (1996). Attitudes were measured on
the basis of Du Toit's Contact and Intercultural Perception Scale (1991). Group identity
experience was evaluated by means of the Racial/Group Identity Scale of Helms (1993), and
the Stress Scale of Van Gram (1981) was also applied.
The statistical analyses were done by using the SAS-programme (SAS Institute, 2000).
Cronbach alfa coefficients and inter-item correlations were used to determine the internal
consistency of the measuring instruments. Exploratory factor analysis was used to establish
the construct validity of the scales. Descriptive statistics were applied to analyse the data.
Canonical correlation was utilised to analyse the relation between sets of variables. Stepwise
multiple regression analysis was applied. Effect sizes rather than statistical inference were
utilised to determine the significance of the findings. t-tests were also used.
The results were presented in the form of four research articles. These results indicated that a
diversity of values, attitudes, identity experiences and stress experiences are present among
the two groupings of students. A discrepancy occurred more specifically regarding values as
experienced by individuals (especially within group context) and regarding organisational
values (Article 1). Within the white grouping, a value pattern came to the fore in which
values such as honesty, dependability and respect were very important to the group. They
also rated the values reasonableness and thankfulness high. A strong value pattern for the
black grouping comes to the fore with values such as respect, honesty, dependability,
thankfulness, politeness and hospitality.
In both groupings uncertainty prevailed concerning the importance of value within the
organisation such as mutual respect, honesty, religion and hospitality. These values will
therefore predict how the individual in the group experiences his or her activities, relationship
with others, nature and time.
The bipolar attitude scale provides an account of how each grouping experiences its own as
well as its external group (Article 2). In general, positive attitudes are present from the white
grouping towards the black grouping (for instance kind-heartedness, goodness, pleasantness).
However, cognitive growth is necessary in the white grouping concerning their perception of
the dependability, wisdom, diligence and sense of responsibility of the black grouping. In the
one field there seems to be an experience dimension in the white grouping with regard to
attitudes, namely that the black grouping always turns up late.
Within the black grouping, more negative-attitude tendencies occur towards the white
grouping. Fields they find problematic are the dependability, fairness, honesty, helpfulness,
sense of responsibility and peacemaking-attempts of the white grouping. The moderated
attitudes of the white grouping toward themselves regarding being less ambitious and
uncertain about their worth for the organisation, corresponds with how the black group
experiences them. An assumption can be made that this attitude probably originates from the
policy of affirmative action.
Only three group identity phases manifested in the black grouping, while five group identity
phases manifested in the white grouping (Article 3). The differences in the phases in the
various groupings correspond with the impact of the South African political history on the
identity moulding of the distinctive groupings. In the factor analysis, different factors from
those in the theory of Helms (1993) were identified. In general, the white grouping is positive
concerning their own identity - not shy of being white (90,63%) and feel at ease with other
groupings (85%). These findings therefore indicate an established group identity that is
developing positively. In the black grouping a positive to very positive tendency prevails that
implies that they are experiencing positive identity-development growth. The uncertain
vacuum of the black group identity has faded, and instead, internalisation and black self acceptance
has crystallised.
In both the groupings the impact that values, attitudes and identity experiences have on stress,
was divided into the frequency of stress and the intensity of stress that the groups experience
in different fields. Both groupings reported high stress frequencies on items such as
frustration and anxiety, while the intensity of stress on dimensions such as anxiety
substructure and boredom comes to the fore stronger in both groupings.
The psychometric features of the measuring instruments were satisfactory. The construct
validity of Helms' scale (1993) for the black grouping should be further investigated, seeing
that the chronological development of identity moulding perhaps is embodied differently in
South Africa with its unique history than elsewhere. Recommendations were made for future
research.Thesis (Ph.D. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2004.
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Iannone, Pasquale. "Childhood and the Second World War in the European fiction film." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5654.
Full textAbstract:
The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.
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Leung, Winnie W. "Experience and expression of emotion in social anhedonia an examination of film-induced social affiliative state in schizotypy /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3843.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: Psychology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Gillespie, Carlton W. "Documenting the experience creating a non-fiction film as a resource for siblings and parents of autistic children /." Click here to view, 2010. http://digitalcommons.calpoly.edu/psycdsp/3/.
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Thesis (B.S.)--California Polytechnic State University, 2010.Project advisor: Laura Freberg. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.
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Schott, Matthew R. "The Flow of Art: A Study on the Human Experience and Nature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/468.
Full textAbstract:
Through all of human history, artists and other creators have been able to access the extraordinary state of flow to achieve amazing feats. Whether it be for a divine purpose, or simply making someone’s day a little better, art has been used to lift the spirits and nourish humanity. In our attempt to cope with the world in which we live, we have found this great mental resource, that has allowed for achievements that not one person could not attain on their own. In my observation, I have seen this euphoric cycle of flow change the lives of so many and provide the tools necessary to reach one’s full potential. Through my experience and research I created a visual representation of how I perceive the concept of flow using dance, animation, and the four elements as my inspiration.
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Henderson, Tamara. "No title." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-201.
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The thesis is divided into an index: it looks at dream beds, hästens, film and sculptures relationship and systematic techniques I employ to make work. INDEX IN THE BANK AND AT THE ZOO CUCUMBER--------DAM THE HAT BRIM ON THE FUNERAL HOME ELIMINATE THE ENDLESS ÄGGULOR I SKAL ANONYMOUS LOAN
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French, Lisa, and lisa french@rmit edu au. "Centring the female: the articulation of female experience in the films of Jane Campion." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080417.165002.
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This thesis is a study of female authorship that examines the feature films of Jane Campion in order to determine how her preoccupation with the cinematic articulation of 'female experience' is expressed in her films-whether female experience can be aestheticised, and to discover whether her gender can be discerned through the films of a woman director. The exploration of these ideas entails a review of the feminist thinking, methodologies and epistemologies that are relevant to cinema, and that examine relevant theoretical positions within feminism and theories of cinematic authorship. The key lens employed here for theorising Campion's cinema is that of postmodern-feminism. As an approach, this allows an understanding of difference rather than 'Otherness', and an enquiry into gender that is neither essentialist nor constructionist, but facilitates critical thinking about both positions. The central argument of this thesis is that Campion's film practice functions as an investigation into gender difference, how women and men live together in the world-experience that world, and are engendered as female through historic, psychological and cultural experiences. This thesis therefore argues that Campion's aesthetic and perspective is not only feminist, but also, female, and feminine, and her work a cinematic articulation of female experience.
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Menezes, Andrea Maria Sarmento. "A cultura da catástrofe ambiental." Pós-Graduação em Desenvolvimento e Meio Ambiente, 2018. http://ri.ufs.br/jspui/handle/riufs/8487.
Full textAbstract:
This research has as object of study the culture of environmental catastrophe. This is the
analysis of the effects that disaster movies have on people, considering the social interactions
between spectators of film narratives of environmental catastrophes, about fear and insecurity
about the possibility of planetary extinction (partial or total). The research approach is based
on social constructionism. The method of the research adopted was the relational of the
descriptive-interpretative type. Eighty-one individuals aged between six and sixty-five years
of different schooling and sex participated in this study. The group device is used, focusing on
the emotions and feelings manifested in the film experiences with the disaster films (1992-
2015). The main instruments of data collection were informal conversations, field diary, direct
observation and audio recording of interactions among participants. The film experience, in
the reception and audience of catastrophic films, produces specific effects on the conduct of
the participants. Five effects are highlighted: (a) generates emotional reaction; (b) produces
conscious awareness; (c) elicits unilateral direct communication through physical contact; (d)
produces empathic disposition; (e) generates, produces and elicits symbolic content. However,
it was observed that not all the participants demonstrated typical reactions to the phenomenon
of referential-emotive micronarration, namely, fright reaction, followed by speech acts, direct
reflex physical contact with other participants and laughing reaction. It was noticed that the
different reactions to the products of the film industry, in the case of catastrophes, explain the
particularity and the singularity of practical social life, thus avoiding the universalist approach
in which social actors do not reflect on what they do, when they do. On the other hand, the
symbolic dimensions of cognition, when not properly situated in the course of the debate on
the filmic experience, produce a reduction effect of the mental operations, elaborated by the
agents themselves with respect to the disaster films. The circulation (or explicit indication)
among research participants of the need for comment on two different discursive plans was
perceived: (a) reactive plans (of sensory-perceptive sensitivity) aimed at activation and
saturation, in which emotion and the feeling predominates; (b) action plans (active base)
focused on the decision to engage and participate directly or indirectly in the search for
involvement with issues pertaining to nature, man and the possibilities of extinction of life on
the planet. We conclude that the fear and insecurity of planetary extinction (partial or total),
conveyed by the disaster films brings to the center of the debate the emotions and the feelings
as an in separate part of the environmental issues and the variety of behaviors observed in
contemporary social practices.Esta pesquisa tem como objeto de estudo a cultura da catástrofe ambiental. Trata-se da análise dos efeitos que os filmes-desastres exercem nas pessoas considerando as interações sociais ocorridas entre os espectadores de narrativas fílmicas de catástrofes ambientais, quanto ao medo e a insegurança ante as possibilidades de extinção planetária (parcial ou total). A abordagem da pesquisa respalda-se no construcionismo social. O método da pesquisa adotado foi o relacional do tipo descritivo-interpretativo. Participaram deste estudo oitenta e um indivíduos com idades entre seis e sessenta e cinco anos de diferentes escolaridade e sexo. Utilizou-se o dispositivo grupal, tendo como foco as emoções e sentimentos manifestados nas experiências fílmicas com os filmes-desastre (1992-2015). Os principais instrumentos de coleta de dados foram as conversas informais, diário de campo, observação direta e registro em áudio das interações ocorridas entre os participantes. Os resultados explicitam que os participantes demonstraram interagir de maneira ativa, não escapista, com os quadros ou cenas fílmicas, compostas com maior apelo da linguagem catastrófica. A experiência fílmica, na recepção e audiência de filmes-catástrofe, produz efeitos específicos sobre a conduta dos participantes. Destacam-se cinco efeitos: (a) gera reação emotiva; (b) produz percepção consciente; (c) elicia comunicação direta unilateral por contato físico; (d) produz disposição empática; (e) gera, produz e elicia conteúdo simbólico. No entanto, observou-se que nem todos os participantes demonstraram reações típicas ao fenômeno da micronarração referencial-emotiva, a saber, reação-susto, seguida de atos de fala, contato físico direto reflexo com outros participantes e reação-risível. Percebeu-se que as diferentes reações aos produtos da indústria cinematográfica, no caso dos filmes-catástrofes, explicitam a particularidade e a singularidade da vida social prática, evitando assim, a abordagem universalista, na qual os atores sociais não refletem sobre o que fazem, quando fazem. Por outro lado, as dimensões simbólicas da cognição, quando não devidamente situadas no decorrer do debate sobre a experiência fílmica, produzem efeito redutor das operações mentais, elaboradas pelos próprios agentes a respeito dos filmes-desastre. Percebeu-se a circulação (ou indicação explícita), entre participantes da pesquisa, da necessidade de comentários em dois diferentes planos discursivos: (a) planos reativos (de sensibilidade sensório-perceptiva) voltados à ativação e a saturação, nos quais a emoção e o sentimento predominam; (b) planos de ação (de base ativa) voltados à decisão de engajamento e participação direta ou indireta na busca de envolvimento com as questões pertinentes à natureza, ao homem e as possibilidades de extinção da vida no planeta. Concluímos que o medo e a insegurança de extinção planetária (parcial ou total), veiculados pelos filmesdesastre traz ao centro do debate as emoções e os sentimentos como parte indissociada das questões ambientais e da variedade de comportamentos observados nas práticas sociais contemporâneas.
São Cristóvão, SE
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de, Selincourt Chris. "Where is the mind of the media editor? : an analysis of editors as intermediaries between technology and the cinematic experience." Thesis, Cardiff Metropolitan University, 2016. http://hdl.handle.net/10369/8682.
Full textAbstract:
What space does the mind occupy? A standard response to this question might be to locate the mind within the brain. However some argue that our mental processes also extend beyond the boundaries of the brain. Gallagher & Zahavi (2008) have termed these two views of the mind: internalism and externalism. In cinema, the role of editor as mediator between the cognitive activities of filmmakers, audiences and the editing equipment, makes their practice particularly suited for investigating these two seemingly incompatible views. When editors cut or join chunks of sound and image, they assemble externally what some would recognise internally as the mind’s fluctuations between one object of attention and the next. Their activities reveal a side of cinema, but also of the mind, which is usually hidden from view. The purpose of this thesis will therefore be to show how studying the process of editing contributes to our understanding of the relationship between mind and world. In order to address the question of where the editor’s mental processes are located, this study applies a phenomenographic methodology. Rather than attempt to understand cognition from a preconceived or objectively constituted position, phenomenography starts by examining variation in how a group of individuals view a particular process. This leads toward research findings that are presented from a ‘second-order perspective’ (Marton, 1981). In this thesis an understanding of how audiovisual material is selected and sequenced is revealed through fourteen interviews with British editors and directors. From the analysis of these interviews a framework emerged of five critical interrelated ways to approach the editing process. This evidence suggests that the cognitive process occurs in virtue of an editor’s physical activities, the editing equipment, plus a broader network of social and cultural relations that support the filmmaking environment. Refuting the belief that the mind is separate from the world, the editor’s mental processes are to be found distributed amongst a variety of internal and external features of their environment. The outcome of this thesis is a phenomenographic perspective on the editing process. This, I conclude, will help to inform cognitive scientists of the kinds of mental processes that editors are aware of. It also provides a wider audience of scholars with a framework for further research on variation in the process and practice of editing.
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Rositzka, Eileen. "The cinematic corpography of war : re-mapping the war film through the body." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/13075.
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In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).
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Saxton, Brian N. "The Media Production Experience: a Phenomenological Study of Student Media Production in a Secondary Education Environment." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1014.
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Many media education researchers have pointed out the benefits of incorporating a production element into a media literacy program. In fact, the simple use of the word “literacy" alludes to both critical analysis of (“reading") media and creative expression through (“writing") media. However, many of those same researchers have found that there are serious difficulties with student media production from a practical standpoint. The lack of equipment, the lack of class time, poor educator training, and the possibility that students may produce school-inappropriate or offensive texts create doubts about whether or not the effort is worth the reward. This qualitative, phenomenological study seeks to provide an answer to those doubts from the standpoint of secondary education (high school) students who participated in a short film production project. The students were surveyed, interviewed, observed, and asked to keep journals about their experiences. That experiential data was then analyzed for significant themes or patterns that could illuminate the essence of the students' experiences. The relative value and the difficulties of the project from the perspective of the students are then evaluated.
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Chang, Ellen Y. "Cinematic Remapping of the Taiwanese Sense of Self: On the Transitions in Treatments of History and Memory from "The Taiwanese Experience" to "The Taipei Experience"." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1345130562.
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Keeve, Frederick Henry. "A Phenomenological Study of the Experience of Humanist, Spiritual, and Transpersonal Films on Positive Organizational Behaviors in the Workplace." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2320.
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A solution is needed to counteract violent news, Internet, and other negative media images and management behaviors in the workplace, in order to boost engagement and prosocial behaviors at work. The purpose of this phenomenological study was to explore the attitudes of working professionals toward prosocial behaviors and employee engagement in the workplace as affected by transpersonal Hollywood films. An organization's ability to survive is directly related to empowerment and innovation. Classic films provide a gateway for transpersonal experiences that could change behavior and thoughts. Peterson and Seligman's transformational typology involving 6 character virtues and 24 strengths was the basis for coding 8 positive films that were viewed by participants. Data collection consisted of 2 in-depth interviews, 8 written film questionnaires, and an exit interview from a criterion-based, purposeful sample of 10 adult working nonmanagerial professionals living in Los Angeles, employed in any industry except the entertainment industry. Six to 10 participants, according to researchers, are an appropriate number for saturation. The most prevalent strengths mentioned were social intelligence and perspective, followed by integrity, hope and open-mindedness. Frequent phrases that corresponded to the 6 virtue categories were wisdom/knowledge and humanity. The results revealed that positive films could be a boon for industrial/organizational issues involving recruitment, training, motivation, and prosocial behaviors. The use of positive transpersonal Hollywood films in human capital development could lead to positive social change in the workplace by reducing worker sick days and promoting a happier workforce with increased innovation and productivity.
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Ehrencrona, Kristina. "Experience-Based Co-Design ett användbart arbetssätt för psykiatrisk heldygnsvård? : Erfarenheter från ett förbättringsarbete inom psykiatrisk heldygnsvård i Stockholm." Thesis, Hälsohögskolan, Högskolan i Jönköping, HHJ. Kvalitetsförbättring och ledarskap inom hälsa och välfärd, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-35999.
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Bakgrund: Patientinvolvering och patientdelaktighet inom vården har blivit allt mer aktuellt de senaste åren. En metod för patientdelaktighet som testats framför allt inom somatisk vård är Experience-Based Co-Design (EBCD). Lokalt problem: Verksamheten har strukturer för att fånga erfarenheter från patienter, men det saknas strukturer för att fånga närståendes och personals erfarenheter. Det saknas ett forum där patienter, närstående och personal kan mötas och tillsammans arbeta med förbättringar. Syfte: För förbättringsarbetet, testa metoder från EBCD inom kontexten psykiatrisk heldygnsvård. För studien, beskriva deltagares erfarenheter av att involveras i förbättringsarbete utifrån EBCD, samt att belysa vad som gör det svårt att engagera patienter i förbättringsarbete. Metod: Övergripande struktur för förbättringsarbetet är Nolans förbättringsmodell och PDSA. Studien utgörs av kvalitativ innehållsanalys av två semistrukturerade fokusgruppsintervjuer. Interventioner: Metoder från EBCD har anpassats efter kontexten och testats. Resultat: Att delta i förbättringsarbete utifrån EBCD har varit uppskattat och utvecklande. Svårigheter har framför allt varit rekrytering av patienter. Slutsatser: EBCD går att använda inom psykiatrisk heldygnsvård, modifieringar är nödvändiga. Vilka och hur behöver studeras vidare. EBCD påverkar individen och organisationen. För att uppnå ett önskat utfall och för att engagera deltagare behöver vissa förutsättningar uppfyllas vad gäller strukturer och maktutjämning mellan patienter, närstående och personal.Background: Patient involvement and patient participation within health care has been more and more important the last years. One method for patient involvement that has been tested (mostly in somatic care) is Experience-Based Co-Design (EBCD). Local problem: The organization has structures to gather experiences from patients, but there is no structure to gather experiences from dependants or staff. There is no forum for patients, dependants and staff to meet and together work with improvement. Aim: For the Quality Improvement project (QIP) try methods from EBCD in the context of psychiatric in-patient care. For the study of the QIP describe participant’s experiences of being part of a QIP based on EBCD, and highlight what makes it difficult to engage patients in QIP. Method: The main structure for the QIP is Nolan’s model of change and PDSA. The study consists of a qualitative content analysis based on two semi-structured focus group interviews. Interventions: Methods from EBCD has been adjusted according to the context and then tested. Result: To participate in a QIP based on EBCD has been appreciated and developing. Difficulties have above all been the recruiting of patients. Conclusions: EBCD is possible to use in psychiatric in-patient care, modifications are necessary. Which modifications and how needs to be examined further. EBCD affects both the individual and the organization. To achieve asked goals and to engage patients there are some conditions that need to be fulfilled according to structures and equalisation of power between patients, dependants and staff.
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Sourdis, Carolina. "El Ensayo cinematográfico como dialéctica de la creación filmica." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/461008.
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Esta tesis aborda el ensayo cinematográfico como dialéctica de la creación fílmica, entendida como método para vincular la práctica y la teoría cinematográfica. En base al estudio de la forma ensayo propuesto desde los estudios fílmicos, la tesis plantea la conceptualización del ensayo audiovisual desde sus particularidades como proceso de creación y traza su genealogía desde los planteamientos metodológico de Walter Benjamin en El Libro de los pasajes. La investigación concibe las prácticas fílmicas como una forma de pensar el cine y se aproxima a la figura del cineasta como artesano de su oficio, que apropia las formas de producción para manifestar su presencia en la imagen. Este estudio se ha centrado en los métodos de trabajo de Jean-Luc Godard y Anne-Marie Miéville, David Perlov y Jonas Mekas en donde el ensayo cinematográfico no se revela como forma sino como experiencia de descubrimiento en y para la creación.This PhD dissertation approaches the film-essay as dialectics of film creation, understood as a method to link both film theory and practice. Based on the studies of the essay as form proposed in the field of film studies, the thesis formulates the conceptualization of the essay film from its particularities as a creative process and traces its genealogy to Walter Benjamin’s methodological approach in The Arcades Project. This research conceives filmic practices as a way of thinking cinema theoretically and understands the figure of the filmmaker as a craftsman, who appropriates the production norms to inscribe his presence in the image. This study takes as the main core the methods of creation exposed by Jean-Luc Godard and Anne-Marie Miéville, David Perlov and Jonas Mekas where the essay film is not revealed as a form but as a discovery experience in and for creation.
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Brown, Matthew Jay. "Media Meets Science: The Experience of a Media Teacher and Science Teacher as They Implement Media Literacy in a Science Classroom." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3263.
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This qualitative action research study looked at my collaboration with a science teacher as we combined a Television Production class with an Advanced Placement Environmental Science class. This cross-curricular case study explored the implementation of the principles of media literacy, defined by the National Association for Media Literacy Education, into the science classroom where media literacy has traditionally been a non-factor. The impact of media and technology on everyone's daily lives is making it necessary for us to become media literate. The use of media literacy tools and strategies in a combined media production class and an AP science class created opportunities to explore cross-curricular understandings of media literacy education that would not have existed otherwise.
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Wrammert, Anna. "Selfies, dolls and film stars : a cross-cultural study on how young women in India and Sweden experience the use of digital images for self-presentation on social network sites." Thesis, Uppsala universitet, Institutionen för informatik och media, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225667.
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Quintal, Shanda. "Fair to Middlin’: How the Mediocre White Male Trope as the Exemplar of Human Experience and Universal Truth Fails to Adequately Prepare the Diverse Field of Contemporary Actors and Audiences in Film, Television and Theatre Today." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2678.
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Non-traditional casting has been a controversial practice in film, television and theatre that was implemented to offer people of color and women opportunities which had previously been available to white or male performers. The following is a case study documenting the process by which I have discovered that non-traditional casting as a practice contributes to the oppression of people of color as well as supports the status quo of the white patriarchy. This case study is analyzed from the historical, sociological, psychological and philosophical theories and ideologies relevant to the unsuccessful attempt of a female actor of African-American descent at portraying a white, Evangelical, male minister. It concludes with an invitation and an approach to making better people.
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Marguet, Damien. ""Traduire en images" ? poétiques du film et de la lettre chez Pier Paolo Pasolini, Danièle Huillet et Jean-Marie Straub, et Béla Tarr." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA053.
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Lors de la préparation de L’Évangile selon Matthieu (1964), Pier Paolo Pasolini indique dans une lettre au théologien Lucio Caruso qu’il ne souhaite pas adapter le texte biblique mais le « traduire fidèlement en images ». Adapter une œuvre littéraire pour le grand écran consiste généralement à en extraire un « contenu » à partir duquel un scénario sera développé. Or, c’est à l’œuvre matthéenne que le cinéaste souhaite nous ramener, non à l’histoire du Christ. Il va ainsi s’attacher à traduire la poésie du texte au moyen du cinéma. Le concept de traduction auquel Pasolini fait appel ne désigne-t-il pas un mode de relation aux œuvres dont pourraient relever d’autres films réalisés à partir de sources écrites ? C’est ce que cette thèse entend vérifier en rapprochant l’expérience de L’Évangile du travail entrepris par Danièle Huillet et Jean-Marie Straub à partir de plusieurs textes et de la relation entretenue par le cinéma de Béla Tarr aux écrits de László Krasznahorkai. À travers ces démarches apparaît la possibilité d’une altération formelle du film par le texte. Elles nous font passer du régime de la translation, qui sous-tend la majorité des théories de l’adaptation, à ceux de la reprise et de la métamorphose. Que ce concept de traduction puisse éclairer certains aspects de la pratique cinématographique, c’est ce que je chercherai simultanément à démontrer. La vision d’un film tient d’une énonciation continue où s’éprouve la langue. Aussi, envisager le cinéma comme un espace traductif, c’est y voir un lieu possible de redistribution des positions et de reconfiguration des énoncés. Cette poétique du traduire est une politique, qui engage une conception de la création artistiqueDuring the preparation of The Gospel According to Matthew (1964), Pier Pasolini stated in a letter to theologian Lucio Caruso that he did not want to adapt the biblical text, but wished to “translate [it] faithfully into images”. To adapt a literary work onto the big screen usually consists in extracting out of it a “content” from which a script can then be developed. But Pasolini’s intent was to take us back to the text of the gospel, not to the story of Christ – hence his endeavour to translate the text’s poetry by means of cinema. The concept of translation invoked by Pasolini denotes a certain mode of relationship to a given work. Could this mode pertain to other films derived from written sources? This is what will be investigated in this thesis, by bringing together the experience of The Gospel According to Matthew and two other approaches: on the one hand, the works by Danièle Huillet and Jean-Marie Straub based on various texts; on the other hand, the relationship between Béla Tarr’s cinema and László Krasznahorkai’s writings. Through these processes emerges the idea of a possible alteration of the film’s form by the text. From the rule of translation, which underlies most of the theories of adaptation, we move to the rule of reprise and metamorphosis. I will also try to demonstrate that this concept of traduction can shed light on some aspects of the practice of filmmaking. The viewing of a film is a continuous enunciation where the language is being experienced. Therefore, to consider cinema as a translative space is to perceive it as a place where positions can be dealt anew and utterances reshaped. This translative poetics is actually a politics, and one which affects our conception of artistic creation
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Buchmann, Anne-Kristina. "In the footsteps of the fellowship : understanding the expectations and experiences of Lord of the rings tourists on guided tours in New Zealand." Lincoln University, 2007. http://hdl.handle.net/10182/145.
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This study seeks to gain an insight into the experiences Lord of the Rings tourists have on guided tours in New Zealand and the role of the tour guide(s) in that experience. The study examines motivations, expectations, actual experience and its evaluation and the role of the tour leader and guides. By drawing primarily on the results of qualitative research that examined the experience of film tourists and other people involved in the film tourism industry over a span of three years, I identified underlying motivations involved in the production and consumption of film tourism. The study found that pre-tour images of Lord of the Rings and its publicity surrounding the making of the films play a significant role in the formation of film tourists' expectations. The emotional relationship towards the films and the novel by J.R.R. Tolkien had motivated film tourists to seek a meaningful and sincere experience. Furthermore, the film and its making as discussed on the DVDs, further publicised myths like the authenticity of the film production itself and the experience of great meaning for one's personal life. Consequently, the study found that most film tourists put a high significance on the sincerity of the relationships within the tour community and with the tour leader and guide(s). The film location visit itself was experienced as highly rewarding but was significantly enhanced by the presence of the tour community ('fellowship'), reenactments and the physical presence on site. This embodiment was crucial for the overall experience as it further authenticated the location visit but also the journey itself as a worthy and spiritual endeavour. It was shown that the New Zealand image of 'green', 'clean' and 'exotic otherness' has been reinforced by multiple media portraits and matches many aspects of the Middle-earth image. All film tourists judged the use of New Zealand for the portrayal of Middle-earth as 'authentic' even if they knew about J.R.R. Tolkien's British background. Furthermore, they judged their film tourism experience as authentic even though the locations were used in a fictional setting. Thus the notions of object authenticity was explored and replaced with the concepts of existential authenticity and sincerity to shift the focus towards the active process of negotiation of authenticity in the tourism experience. To understand tourists' behaviour and motivation, notions of 'spirituality' and 'pilgrimage' were also employed. The study tourists undertook a meaningful and spiritually significant journey that was enhanced through the experience of embodiment and community which suggested parallels between the religious pilgrim and the secular film tourist. Both are on a meaningful journey to distant places and follow scripted guidelines while also creating their own experience. Embodiment played an important role. Furthermore, film tourists sought the community of other believers and were willing to 'follow in the footsteps' of film stars and crew when choosing which film locations and eateries to visit as they sought places that had attained an 'aura'.