To see the other types of publications on this topic, follow the link: Film production.
Dissertations / Theses on the topic 'Film production'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Film production.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Wille, Kirstin. "Film production in Cambodia conditions and structure of the Cambodian film production market, demand and supply in consideration of film genre." Erfurt Thüringisch-Kambodschan. Ges, 2009. http://www.tkgev.org/film-production-in-cambodia.html.
Full text
2
Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.
Full textAbstract:
In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.
3
Goksu, Emel Iraz. "Hemicellulose Based Biodegradable Film Production." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605940/index.pdf.
Full textAbstract:
Xylan was extracted from cotton waste, characterized by DSC and TGA analysis and used in biodegradable film production. Pure cotton waste xylan did not form film. The presence of an unknown compound, as an impurity, yielded composite films. The unknown compound was determined as a phenolic compound, and most probably lignin, by using DSC and TGA analysis and Folin-Ciocalteau method. The effects of xylan concentration of the film forming solutions, glycerol (plasticizer) and gluten additions on thickness, mechanical properties, solubility, water vapor transfer rate, color and microstructure of the films were investigated.
Films were formed within the concentration range of 8-14%. Below 8%, film forming solutions did not produce films, whereas xylan concentrations above 14% was not used because of high viscosity problems. The average tensile strength, strain at break, water vapor transfer rate and water solubility of the cotton waste xylan films were determined as about 1.3 MPa, 10%, 250 g/m2.24h and 99%, respectively. The addition of glycerol as the plasticizer resulted in a decrease in the tensile strength and an increase in strain at break. The change in water solubility due to the addition of glycerol was very small. In addition, water vapor transfer rate and the deviation of the color from the reference color for the plasticized films were found to be higher than the unplasticized films.
The effect of addition of wheat gluten in cotton waste xylan film forming solutions on film formation was investigated at different concentration ratios. However, the incorporation of wheat gluten worsen the film quality.
4
Theuer, Timothy. "Submit: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/232.
Full textAbstract:
This thesis documents the production of a seventeen-minute narrative film production, Submit. It includes chapters outlining the development, pre-production, production and post-production stages. In addition, the script, shot lists, equipment request form, budget, and camera reports are included. Written, produced, and directed by the author, Submit is the story about a man's desire to right his life by winning back a former love. The story involves deceit and plays with notions of identity and place. The film was shot in seven days throughout the City of New Orleans. The goal of this project was to create a short piece that in turn would be employed to garner further resources to shoot a feature length film.
5
Song, Dae Hyun. "Pre-Production, Production and Post-Production on Short Film "Draw Me Invisible"." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/321962.
Full text
6
Harmon, Joseph C. "The Cuddle Club." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1970.
Full textAbstract:
With The Cuddle Club, I intended to make a film that sought to examine intimacy as it relates to the extremes; in the film I subvert expectations of intimacy to make the audience reconsider why we draw our physical boundaries where we do. And while everybody may need a little cuddle every now and then, men have no right to touch women without their express permission.
This paper will be an examination of the story behind the story. Of my thoughts on the process of creating my thesis film The Cuddle Club as it pertains to the screenwriting, preproduction, production and postproduction process. There will be a step-by-step analysis of the plot, as well as an introduction explaining how The Cuddle Club came to be. The Appendix will include all of the documents created during the preproduction process.
7
Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.
Full textAbstract:
This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenonMaster of Arts (Hons)
8
Stratton, Sabra. "Get Out of My Hair." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/978.
Full textAbstract:
The documentary, "Get Out of My Hair, " engages in the dialogue of hair removal and its relationship to femininity, specifically looking at how the media has taught young women to fear the affects of puberty. The piece features ten women between the ages of eleven and twenty-two with ranging demographics who are all brought together by their experiences with their body hair. Applying media effects theory and psychoanalytic theory, this project examines how advertising portrayals of female body depilation contribute to the increase in hair removal and further align the concept of femininity with hairlessness.
9
Thomas, M. "Gelatin film formation related to capsule production." Thesis, Cardiff University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372355.
Full text
10
BREA, JOANA DE OLIVEIRA. "SUBTLE RESISTANCIES: FILM CREATION AND PRODUCTION INSTANCIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12940@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROSe a tensão entre o fazer artístico e a lógica do mercado assombrou a arte em geral, desde o surgimento da cultura de massa no século XIX, ela esteve presente no cinema já no seu nascimento: para além de sua dimensão de obra de arte, a invenção do espetáculo da projeção fez do filme um bem de consumo coletivo, impondo-lhe métodos de produção industriais e finalidades comerciais. Na contemporaneidade, o declínio das grandes utopias e a expansão do papel do mercado como grande mediador cultural tem, cada vez mais, colocado em xeque o paradigma estético da modernidade, incluindo seu ideal de autonomia. Distanciada das posturas radicais que, outrora, advogavam o confrontamento com o massivo, a arte contemporânea desenvolve sutis formas de resistência que negociam a possibilidade de expressão com sua inevitável condição de mercadoria. Nosso objetivo, nesta dissertação, foi analisar como a tensão entre um ideal de liberdade artística e o filme como produto comercializável se manifesta no cinema contemporâneo. Para isso, buscamos selecionar, como objeto de estudo, filmes que nos permitissem destacar estratégias de negociação entre criação artística e instâncias da produção. A escolha recaiu sobre Quero Ser John Malkovich (1999), Adaptação (2002), A Natureza Quase Humana (2002) e Brilho Eterno de uma Mente sem Lembranças (2004). Os dois primeiros foram dirigidos por Spike Jonze, os dois últimos por Michel Gondry e todos tiveram Charles Kaufman como roteirista.
If the tension between artistic work and the market`s logic hunted art in general, since the beginning of mass culture in mid nineteen century, it became present in films since its birth: beyond the dimension of work of art, with the invention of the spectacle of projection, films became a largely consumed product which imposed industry production methods and commercial goals. In contemporary days, the decay of utopia and the expansion of the market`s hole as a cultural mediator have put the modern esthetic paradigm in question, including its ideal of autonomy. Far from the radical postures that used to proclaim the confrontation with the massive, contemporary art develops ways of resistance that negotiate the possibility of expression with its undeniable condition of merchandise. Our goal, in this research, is to analyze how the tension between the ideal of artistic freedom and the film as a product happens in contemporary cinema. Therefore, we sought to select, as our object of study, films that allow us to perceive negotiation strategies between artistic creation and production methods. We chose Being John Malkovich (1999), Adaptation (2002), Human Nature (2001) and Eternal Sunshine of the Spotless Mind (2004). The first two had been directed by Spike Jonze, the last two had been directed by Michel Gondry and all of them had been written by Charlie Kaufman.
11
Vales, Marcela. "The Golden Ring: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/285.
Full textAbstract:
This thesis documents the production of THE GOLDEN RING, a short narrative film shot on digital video. All the phases of the production, from the writing process through the post-production, are addressed in the thesis. THE GOLDEN RING is a film I wrote and directed. It tells the story of Luke Stevenson, a man who has it all on a material level, but that otherwise has a void in his life. One day something out of the ordinary happens to him. He finds a ring that belonged to a woman he used to be in love with. Now he might have a chance to recover that love and change his life forever. But, will he have the courage of facing the challenge that change represents?
12
Gooch, Sara Anne. "Mediating the mill: steel production in film." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2879.
Full textAbstract:
Mediating the Mill: Steel Production in Film counters opinions by film scholars and critics who often see films that represent steel production and its spaces as failed aesthetic projects or as dull propaganda or educational films, and who undervalue the importance of the specificity of the steel mills and the industry represented in them. It argues that such films are aesthetically and historically rich texts for film and history, but that they can only be interpreted as such when their historical and industrial specificity is returned to or brought alongside the film texts. Using the work of Siegfried Kracauer and film and history scholars, it argues that such films can be read as artifacts of collectively held understandings, imaginings, and affects. In particular, it argues that films representing steel production provide unique insight into collectively held responses to macroeconomic events in the 20th century--from monopoly capital's consolidation and the introduction of Fordism and Taylorism, to the Keynesian compromise, to the Cold War "consensus," to the breakdown of Fordism and introduction of global overproduction, and finally to neoliberalism. Using the work of Frederic Jameson, it interprets these films as cognitive maps of steel production from subjective position within antagonisms of class and economic control. Indeed, it argues that 20th century steel production was a subject uniquely able to bring forth cognitive maps, due to the difficulty of representing it as a coherent industrial process. When filmmakers "mapped" the process, they created cognitive (and affective) maps that tell us more about the provisional acts of representation, and what drives and informs them, than about what or who is represented. Finally, it argues that this cognitive and affective work can only be grasped by close attention to the films' aesthetics, which always also allows for `suggestive indeterminacy' and polyvalent readings, especially due to the striking material world made spectacular on film.
This examination of steel production in film also expands the category of industrial film to include documentaries, animated educational films, experimental films, and popular fiction films. As such, this dissertation is made up of case studies of four sets of films of steel production and its spaces. The first set, state-sponsored social documentaries of the 1930s, includes films by Joris Ivens, Dziga Vertov, John Grierson, and Willard Van Dyke and considers how these filmmakers differently imagined the state's role in steel production in this period. The second, mid-twentieth-century sponsored films, includes films made for US Steel and other steel firms from the 1930s through 1960s, and places these films into the context of public relations as an attempt to shape how workers and the public viewed corporate interests. The third, experimental films of the 1970s, focuses on films by Hollis Frampton and Richard Serra that consider the difficulties of connecting the film artist's perspective with that of the steel worker as the western steel industry began to draw down its workforce and as economic change split the middle class. The concluding chapter examines popular dystopian Hollywood films of the late twentieth century as part of a broader shift in the US to a neoliberal economy that left little room for workers. Despite the breadth of my chapters, this dissertation draws on the work of Walter Benjamin in understanding catastrophe as the line connecting the chapters, but also in following the potential when a mass art turned its attention to the massed workers and mass spectacles of steel production.
13
Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.
Full text
14
Raymond, Mark C. "Going In circles." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1938.
Full text
15
Cheng, Alexandra. "TERMS: A Short Film." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1807.
Full textAbstract:
This project documents and reflects on the entire process from inception to execution of my short film, TERMS. Inspired by Yorgos Lanthimos’ The Lobster, my film falls under the genre of magical realism and explores the idea of reincarnation as a physical transformation, which acts as a vehicle through which my film’s protagonist comes to terms with her mother’s premature death.
TERMS has been submitted alongside this written portion.
16
Ho, Isabella Mei-yu. "The BFI and film production : a history of policy and practice from the Experimental Film Fund to the Production Board." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437470.
Full text
17
Xing, Zishuo. "Unfolding the Spectrum of Emotions." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1243.
Full textAbstract:
Entering the era of information, video has become a popular form of media to convey human’s emotions that appeal to the audiences. As cinema intertwines with different aspects of our daily life, it also provides a space for people to emphasize their ideologies and emotional feelings. Through different genres of films, the audiences are able to experience the stories that take place at a distant location on the world, and feel the extraordinary emotions that are unusual in the daily life. Despite the diversity of cultures within the worldwide cinema, the audiences are usually able to connect to the film’s sentiment even if the story adopts a different language and social setting. Such empathy will be enhanced in my capstone project as the participants directly expose their emotions of being touched, which will be edited with the audio materials triggering such sentiment, to connect to the audiences’ inner softness. As my capstone project, this 3-5 minute long experimental documentary will point out how human’s emotions can be interlinked even among strangers by calling forth the viewers’ empathy to the display of the interviewees’ emotions.
18
Merz, Caroline. "Why not a Scots Hollywood? : fiction film production in Scotland, 1911-1928." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22054.
Full textAbstract:
This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War. Early film production in Scotland has been characterised as a story of isolated and short-lived enterprises whose failure was inevitable. The work problematises this view, focusing instead on the potential for success of the various production strategies employed by Scottish film-makers. It demonstrates that producers were both ambitious and resourceful in the manner in which they sought to bring their films to local, national and international screens. Previously unknown markets for these films are also identified. In 1911 the first British three-reel film, Rob Roy, made in Scotland by a Glasgow production company, reached audiences as far away as Australia and New Zealand. Scottish efforts in film production, including the development of synchronised sound systems, were not haphazard but mirrored trends in the British and worldwide film industries until the late 1920s. With the coming of sound, the costs of commercial film production represented too great a challenge for the limited resources of Scottish producers. The study encompasses a detailed exploration of efforts in feature film production; how far these productions travelled and for whom they were made; the presentation and treatment of Scottish-made films by the trade press and local newspapers and their critical reception both at home and overseas. The majority of these films are lost, but close scrutiny of contemporary publicity and archival documents including business records has enabled a detailed picture to emerge of their content, nature and production background. Scottish stories and the Scottish landscape were important to the British film industry from its earliest days, and feature films shot on Scottish locations by outside producers are also discussed. Were these the films Scots would have made, if they could?
19
CASEIRO, IGOR AJUZ DE ABREU. "APPLICATIONS OF RFID IN A FILM PRODUCTION COMPANY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18171@1.
Full textAbstract:
Atualmente o crescimento da competitividade de mercado exige um alto
desempenho das cadeias produtivas, com prazos menores e preços mais
competitivos. A logística passou, então, a ter papel estratégico nos processos
industriais, sendo de fundamental importância no apoio às tomadas de decisão no
gerenciamento da cadeia de suprimentos (Supply Chain Management - SCM). A
tecnologia de identificação por rádio freqüência (Radio Frequency Identification -
RFID) se tornou nos últimos anos uma ferramenta poderosa, que aliada à
logística, oferece grandes oportunidades para as organizações responderem de
forma mais competitiva e segura às demandas do mercado. O objetivo desta
dissertação é analisar a aplicação da tecnologia RFID no gerenciamento de
figurinos em uma produtora. Para tal, o presente estudo analisa o processo com a
utilização da tecnologia atual (código de barras), e posteriormente com o uso do
RFID. A principal contribuição da presente dissertação é apresentar uma nova
aplicação desta tecnologia na literatura, promovendo uma maior compreensão do
impacto da mesma na indústria cinematográfica brasileira. Com base nos
resultados do estudo de caso realizado, a dissertação apresenta as principais
melhorias obtidas após a utilização da tecnologia RFID, comparando com
vantagens citadas na literatura acadêmica. Com o RFID ganhou-se agilidade no
processo, minimizou-se a quantidade de erros, diminuiu-se o retrabalho e a
quantidade de perdas. Conclui-se que a implantação do RFID foi bem sucedida.Today’s increasing market competitiveness demands a highly performing production chain, with lower delivery times and more competitive price levels. In that scenario, logistics has earned a strategic role across industrial processes, being critically important in supporting Supply Chain Management (SCM) decision making. In recent years, Radio Frequency Identification (RFID) technology has become a powerful tool that has been added to logistics, in offering greater opportunities for companies to respond more competitively and safely to market demands. The objective of this paper is assesses the use by a film producer of RFID technology in costume inventory management. The research examines the barcode technology presently in use, and subsequently explores the use of RFID. The main contribution of this work is to introduce in the literature a new application for RFID technology, offering a more comprehensive look of its impact in Brazilian film industry. Based on the results of this case study, the essay shows the main improvements obtained with the use of RFID technology, and offers a comparison to the advantages documented in academic reviews. With RFID in increased agility, minimization of errors, rework and loss. The conclusion is that the RFID implementation was a success.
20
Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Full textAbstract:
Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
21
El, Khachab Chihab. "Technology, labor, and mediation in Egyptian film production." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3968411a-84aa-4478-887b-b2c59be71522.
Full textAbstract:
This thesis examines the way in which imponderable problems are mediated in the everyday work of commercial film production in Egypt. By 'imponderable problem', I mean a working problem encountered in an extended production process whereby the individual worker, in the present, cannot account for all courses of action leading onto the process's expected outcome. I argue that workers in film production can never entirely solve this kind of problem: they 'mediate' it. They rely on various assumptions and material mediators to break this overall imponderability into a series of contingent tasks, thereby modifying the expected outcome. I situate this mediation in the wider context of the contemporary Egyptian film industry, with its interpersonal mode of interaction, its labor hierarchy, its socio-technical process of production, and its technological implements. This thesis analyzes three imponderable problems in particular: how to coordinate a shooting day; how to visualize the film; and how to anticipate the audience's composition and reaction. The overall argument is situated within media anthropology, where media production tends to be examined as a 'social' phenomenon inscribed on an invisible technological substratum, without exploring the material implications of everyday technological objects in a temporally extended process of production. This literature, moreover, tends to be inattentive to the gap between the way in which the film unfolds and the way in which social agents involved in its making anticipate this unfolding. This thesis, by contrast, considers how Egyptian filmmakers try to anticipate the future of their activity. In addition to being an ethnographic account of the Egyptian film industry, this thesis contributes to the anthropological literature on media production by exploring how workers concretely mediate between the present and the near-/far-future.
22
Mynatt, Trenton T. "Splitting Maul." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2176.
Full text
23
Crockett, Emmett J. III. "Timelocked: A Thesis." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2600.
Full textAbstract:
Abstract
The goal of this paper is to provide insight into the development and execution of the short film, Timelocked. I will focus on the complete process of the film’s creation, from the first inspiration of the idea through its planning, its production and, finally, its use beyond submission to my thesis committee for consideration. The most significant challenge for this project was remaining true to the story’s genre, tone, and theme throughout each iteration of its development. Therefore, the structure of the paper will serve to describe the entire process with respect to the preservation of these three aspects. My goal is to prove mastery in the fine art of film production by creating a film which effectively shows deep understanding of the time-travel sub-genre of science-fiction films, while subverting that sub-genre in a unique way, causing an emotional effect in the audience.
24
McNamee, Robert V. "Writing for film : the role of the Production Board of the British Film Institute." Thesis, University of Oxford, 1994. https://ora.ox.ac.uk/objects/uuid:bf4bcf2d-4120-4c59-a196-05d9f771a9dc.
Full textAbstract:
This thesis provides detailed textual analysis of four films made (with BFI Production Board assistance) by two important, though contrasting, British writer/directorsâ My Childhood, My Ain Folk and My Way Home (Bill Douglas, 1972-77); and The Draughtsman's Contract (Peter Greenaway, 1982). Though the thesis is focused on those films, its form and substance have been governed by the fact it is text-based and presented within the Faculty of English. The first chapter briefly considers early national and governmental concerns about the role of film in British life, includes a survey of films legislation and looks at the proposals for a National Film Institute. The second chapter looks at the specific outcome of those proposals, namely, the creation of the British Film Institute. It also looks at the history of BFI film production up to 1982, which is the terminal date of the period under study. The discussion then turns to the main topic of the thesis, a detailed textual analysis of the Douglas and Greenaway films. As both discussions demanded, as a sine qua non of the descriptions offered, accurate texts of each work in its final, achieved form, editions of each have been specially prepared and are submitted with the thesis for ease of consultation. While the discussion of each work is primarily concerned to establish its distinct nature and quality, the two chapters devoted to them implicitly serve also a larger argument, dealt with more summarily in the thesis, about the perceived conflict between the demands of art and industry. Where the Douglas trilogy demonstrates a thoroughly uncommercial enterprise in the pursuit of a highly personal statement by its director for whom an integrity of personal experience was the prime concern, analysis of Greenaway's film demonstrates a contrasting achievement in terms of a commercial cinema and a quite different aesthetic. Where the one was in part made possible by the BFFs earlier commitment to experimental filmmaking, The Draughtsman's Contract is the expression of the Production Board's later concern to produce work for a broader audience poised on the borderline of art and entertainment. The conclusion briefly takes up those issues and offers some suggestions as to the ideological and historical origins of the art/industry debate. This is complemented by a substantial bibliography of further reading on 'Culture, Art/Industry, and Avant-Gardism'.
25
Ationu, A. "Comparison of fixed Acetobacter film fermenter systems." Thesis, University of Strathclyde, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382281.
Full text
26
Beaudet, Madison. "Can the Good Man Be Happy? The Production of "Beyond Memory"." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2129.
Full text
27
Norwood, Tracy L. "The Blanket of the Dark." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2389.
Full textAbstract:
The Blanket of the Dark is a psychological thriller that explores the horrors of postpartum psychosis, a rare but serious illness a new mother can experience in the days and weeks following the birth of her child. The film is an intimate portrayal of the psychology of a new mother suffering from the hallucinations and delusions that are symptoms of this horrific and oftentimes undiagnosed illness. In the end, motherhood for women with undiagnosed postpartum psychosis is anything but joyful, and can lead to suicide and murder.
This paper is a candid analysis, a production report as it were, of the making of my thesis film, The Blanket of the Dark. I will begin with an introduction to how The Blanket of the Dark came to be, and then dive into a detailed plot analysis along with “behind-the-scenes” accounts of my thoughts and experiences on screenwriting, preproduction, production and postproduction process. All documents used during production are included in the appendix. I hope that future filmmakers will read my about my journey and know that, while filmmaking is one of the most challenging experiences anyone can have and questions about their talents and merits may arise, the insecurities and perceived impossibilities are hurdles that any filmmaker can overcome.
28
Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.
Full textAbstract:
Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
29
Ziemsen, Eva. "Developing a learning model for teaching film production online." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63862.
Full textAbstract:
Through my roles as a film professor, filmmaker and PhD student, I have acquired a strong motivation to develop a learning model for the teaching of film production online. My initial interest for conducting research in this area began a few years ago when I taught a screenwriting workshop in Bhutan. On my return to Canada, I wished there was a way for me to continue teaching my students in Bhutan in the domain of film production. Further research has led me to discover that machinima, a virtual mode of recording animation, could be the solution to teaching almost all aspects of filmmaking, entirely online. Machinima is already very popular amongst educators, both face-to-face and as an online mode of delivery, however, its legitimacy as a cinematic art form has given rise to a controversial debate. My goal was to employ the research method of a/r/tography (standing for artist, researcher, and teacher), to create a complex artistic and academic work to demonstrate that machinima is a valid method of filmmaking and is an immersive mode of teaching film production in the online context. The Art entailed creating a short hybrid film using machinima and live action, entitled, Romeo & Juliette2016. The Research included a literature review that situated my work in the theory that underpins machinima as an art form and in the context of online learning. The Teacher component included a documentary in which I exhibited my film to select ‘critics’, in film, media and film education, and invited them to respond. The documentary was intended to produce discourse around the notion of machinima as an art form and as a teaching tool. Finally, in conclusion, I wrote a response chapter to this interaction and to the project as a whole. This study is highly relevant in the current landscape of media and 21st century education as virtual reality applications are taking hold in the professional filmmaking process and as a teaching tool, and machinima is part of this revolution. Supplementary materials available at: http://hdl.handle.net/2429/63862Graduate and Postdoctoral Studies
Graduate
30
Holtmeier, Matthew. "The modern political film : biopolitical production and cinematic subjectivity." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3624.
Full textAbstract:
This project uses Gilles Deleuze and Félix Guattari's concept of the minor cinema to argue for a contemporary political mode of film that critiques dominant or majoritarian ideologies. I argue that these 'modern political films' perform this critique by rupturing the sensory-motor schemata that make up official times and create a space for everyday life and labor to emerge on screen. While political theorists such as Carl Schmitt argue proper politics necessitate oppositional conflict and dialectical progression, a classical model based on the opposition between ultimately Other subjects, modern political films challenge this notion by fragmenting the concept of an appropriate subject and revealing the networks that contribute to and create modern, multifaceted subjects. I locate modern political films in four global contexts: Algeria, Iran, China, and the United States. While the political circumstances of each context differ greatly, the filmmakers I examine turn to a slower pace or use of cinematic time that resists narrative conclusion to address political, economic, and social issues affecting populations within these global locations. Through this slower pace, these directors also address the biopolitical concerns of the subjects they depict: intolerable laws, ideologies, and economic forces that structure or otherwise control how individuals live their lives. As a result, these films operate according to a particular form of politics that opposes the subject-creating assemblages of regulatory biopower, and affirms the potential for new life to emerge on screen.
31
Mulligan, Talley. "Lekhost a Tize: An Experiment in Film Production Methodology." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/46.
Full textAbstract:
Proliferation and convergence of new technologies as well as the diverse media it has given rise to have had a dramatic impact on the theory and practice of contemporary filmmaking. This trend also holds considerable implication for the range of cinematic forms likely to be embraced in the future as well as the methodologies necessarily exploited in their making. The formal and expressive possibilities inherent in the climate of experimentation existing at this unique juncture in history encourage out-of-the-ordinary solutions to long-standing problems while begging important questions regarding the process and goal of filmmaking. Taking the films of the Czech New Wave and their trademark formal experimentation as a point of departure, the present study attempts to incorporate the disparate influences of these novel circumstances to filmmaking. As such, Lekhost a Tíže represents one filmmaker's efforts towards the goal of an intuitive and personal system of filmmaking, based on a flexible, yet expressive visual language that seeks to promote discovery without forfeiting narrative coherence.
32
Barquinha, Pedro. "Transparent oxide thin-film transistors: production, characterization and integration." Doctoral thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/5380.
Full text
33
Kaimal, Kiren G. "Light: Journey of a Lifetime." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/709.
Full textAbstract:
This thesis covers the lessons I've learned throughout film school and how I have applied them towards the making of my thesis film, the 12-minute narrative short, Light, shot on digital video. Every aspect of the filmmaking process is covered including my education at UNO and its application to my thesis. Areas covered include the writing process, pre-production, production, and post-production. The one area that is omitted is distribution, something that was not taught at UNO and something that I am in the process of doing. Keywords: Film Production MFA Short Film India Kerala
34
Mackay, Jem. "www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8756/.
Full textAbstract:
An increasing number of filmmaking projects borrow approaches from open source programming methodologies in the practical process of film production. The potential benefits of open filmmaking include fast development times, customizable storytelling, less-biased reportage and a rich learning environment for future filmmakers, among others. There has been very little academic study about the challenges of this approach and the opportunities it affords for distributed filmmaking. This thesis explores the possibility of incorporating open source programming methodologies into the practice of distributed filmmaking. It develops a number of emergent policies and procedures that relate to this practice, and tests them out using an interactive website called “Swarm TV”. This online environment acts as a prototype for these policies and procedures, as well as functioning as a probe, testing their effectiveness in the filmmaking projects. Data is collected from the website and has been used from a number of projects over the last nine years, to reflect on how these emergent policies and procedures affect the dynamics of a filmmaking community. From the context of open source programming, the digital revolution has emphasized three main characteristics that are significant in open source methodologies: Openness, Non-hierarchy & Collaboration. These concepts are explored in this thesis to define guidelines for distributed filmmaking projects where open source methodologies are implemented. Analysis of the effectiveness of these policies and procedures is provided for filmmaking projects using Swarm TV, and conclusions are developed focused on the effectiveness of open source approaches to filmmaking projects in distributed communities. The practical research in this thesis demonstrates the extent to which open source methodologies are effective for the filmmaking process, and also, identifies the emergent policies and procedures that might facilitate distributed filmmaking in an online environment.
35
Elliott, Emma M. "Damn Spot: Navigating Emotional Trauma in the Body." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1252.
Full textAbstract:
I researched the history of emotional trauma and its portrayal in modern media and Shakespearean plays and created a film based on my personal experience with the topic. This film utilizes Shakespearean song and monologue from Hamlet and Macbeth to narrate the inner journey of a girl working through emotional trauma. We follow her as she feels the impact of her trauma in her body and as she tries to hide it from her friends and maintain a normal facade. This film does contain a fictionalized portrayal of an anxiety attack, so viewer discretion is advised. This project does not claim to be a comprehensive and complete narrative for anyone dealing with emotional trauma: it is a deeply personal experience and affects every person differently. I drew inspiration from my own struggles with emotional trauma for this film and the reflection of my experience that I found in these Shakespearean monologues.
36
Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.
Full textAbstract:
Baker is an independently financed low budget film that examines the ambiguous nature of compassion in the day-to-day life of hospice care personnel. The creation of the film entailed three stages: pre-production, production and post-production in which numerous artistic, financial and logistic challenges arose and threatened the completion of the picture. The complex nature of the subject matter required particular attention to the structure of the script. The budgetary restrictions enforced a minimalist approach to locations as well as other creative considerations such as the size of the cast and period setting. The shooting location dictated the framework of the aesthetic approach in design as well as in mise-en-scene for the film. The post-production phase redefined the film once the structure became dependant on the relationship between footage and aural elements rather than on the blueprint of the script. This artistic journey imposed a need for creative problem solving and adaptability. The process of working on Baker allowed me to have a full understanding of my role in the collaboration with talent, the management of crew and my creative duty to maintain the essence of the script while realizing my artistic vision. The overall experience has deepened my commitment to storytelling in the collaborative art of cinema. The result is a highly personal expression of my voice as a director, a female, and social criticM.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
37
Johnson, Jeb E. Mr. "Exploring Hollywood Cinema: A Look at Cinematic Techniques and the Classical Hollywood Ideology." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/350.
Full textAbstract:
The focus of this thesis is to explore the ideas behind Hollywood Cinema and techniques used to craft camera shots of today’s cinema. The movie industry is one of the United States’ biggest export profits; because of this, American movies standout above the rest. I will be exploring and demonstrating the researched techniques of American cinema.
38
Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.
Full textAbstract:
Thesis (M.A.)--University of Kentucky, 2002.Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).
39
Pinkey, Sheena. "Sidelined." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/691.
Full text
40
Read-Fisher, Kathryn. "Billy the Elephant: Life In Captivity Is No Life At All." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/905.
Full textAbstract:
Animal rights activists and animal welfare advocates are the two most vocal groups dedicated towards improving the lives of animals, however they often end up fighting with each other instead of working with together. They get caught up in the small details and forget that they are both working towards the same bigger picture: living in a world where animals and humans can cohabitate happily and healthily. Both groups use the media as a tool to grab headlines and generate controversy, which sheds light on animal rights issues. While its commendable that both groups are willing to go to many extremes to get their message to the public, they do so at the expense of properly educating the public. Animals rights issues become more about the spectacle than the animals, which ultimately ends up helping no one. I want to first analyse the arguments about captivity from both parties, and then delve into the tactics that they use to get their ideologies across. My goal was to create a short documentary that explores the depth of these issues, critique the role that the media plays through the lens of a specific animal: Billy the Elephant.
41
Ferrer, Danielle. "Casting." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1082.
Full text
42
Wang, Xiwen. "Xin Yi: A Dramatic Exploration of International Student Experience." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1081.
Full textAbstract:
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.
43
Brown, Elizabeth. "Ambitious Young Woman." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/919.
Full textAbstract:
Ambitious Young Woman is an hour-long dramedy layered with warmth, gravitas, and humor. With dialogue that flies by at the speed of light and a protagonist we would walk into battle with, heart and goodwill lie at the center of the series. While the premise centers around politics on a university campus, the ramifications of the students’ actions will ripple across the entire nation. Staunch liberals of Gen Z are our heroes and they give no mercy when pursuing their progressive ideals. However, it is their evolution from young men and women into adulthood that we’re returning week-to-week for. Even as they bring down the conservative bastions of ‘The Baby Boomers’, it is the characters interpersonal lives that bring about the greatest intrigue.
44
Horde, Candice. "The Fittest." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/968.
Full textAbstract:
THE FITTEST (Half-Hour Drama, Anime/Fantasy/Sci-fi): Newly deemed terrorists set out to prove their loyalty by capturing their country’s most-wanted, a terrorist group called Specter. However, as they spend more time with the country’s people, they start to question who the real terrorists are.
45
Herman, Hannah. "Barren." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/985.
Full textAbstract:
In the aftermath of their baby’s stillbirth, eccentric couple Marlow and Dev clash with overbearing loved ones, outspoken neighbor kids, and each other while trying to reconcile unmet expectations and their newfound reality. Bottling up her emotions, Marlow begins to see inanimate objects speak, spewing out the feelings she hopes to keep suppressed.
46
Ray, Preston. "No Man's Land." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/974.
Full textAbstract:
NO MAN’S LAND (One-Hour, Horror) – In a dying Dust Bowl town suffering from the outbreak of a strange disease, a headstrong epidemiologist finds herself facing off against an ancient, supernatural entity.
47
Hunter, Alexis F. "Botany Bay." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/970.
Full textAbstract:
When a troubled young woman’s investigation into her high school crush’s disappearance leads her into an entirely new dimension– a failed penal colony with supernatural forces, feuding inhabitants, and mortal danger- she must find the truth while also trying to find a way back. A One-Hour YA Fantasy Adventure Pilot.
48
Pittis, Patrick J. "Star Patrol Space Squad." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/690.
Full text
49
Woodside, Addison. "Evangelicals." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/983.
Full textAbstract:
Evangelicals (Half-Hour Dramedy): When wannabe investigative reporter Jess Navarro goes undercover at a trendy new Evangelical church, her secular worldview turns technicolor as she experiences a wild spiritual transformation—leaving her boss and childhood best friend in utter disbelief.
50
Martin, Edwin Lorenzo. "Black Men Don't Cheat." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/982.
Full text