Dissertations / Theses on the topic 'Filmmakers'
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Prime, Rebecca Lynn. "Intimate strangers blacklisted filmmakers in postwar Europe /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835961&sid=4&Fmt=2&clientId=48051&RQT=309&VName=PQD.
Full textShu, Chang. "On the Edge of the Margins: Female Independent Documentary Filmmakers in Contemporary Mainland China." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365795.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
Millar, Michelle. "Alice Guy Blache and the development of early cinema." Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343731.
Full textGupta, Dipti. "Confronting the challenge of distribution : women documentary filmmakers in India." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39431.pdf.
Full textReynolds, Lucy. "British avant-garde women filmmakers and expanded cinema of the 1970s." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536627.
Full textAgina, Anulika. "Nigerian filmmakers and their construction of a political past (1967-1998)." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/96x0z/nigerian-filmmakers-and-their-construction-of-a-political-past-1967-1998.
Full textMak, Monica. "Digital cinematic technology and the democratization of independent cinema." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.
Full textMarquez, Zaida. "Articulating a diasporic identity: The case of Latin American filmmakers in Quebec." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28420.
Full textMcCarty, Andrea Nina. "Toying with obsolescence : Pixelvision filmmakers and the Fisher Price PXL 2000 camera." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/39180.
Full textIncludes bibliographical references (p. 155-165).
This thesis is a study of the Fisher Price PXL 2000 camera and the artists and amateurs who make films and videos with this technology. The Pixelvision camera records video onto an audiocassette; its image is low-resolution, black and white. Fisher Price marketed the PXL 2000 to children in 1987, but withdrew the camera after one year. Despite its lack of commercial success, the camera became popular with avant-garde artists, amateur film- and videomakers and collectors, sparking a renewed interest in the obsolete camera. An online community has built up around the format, providing its members with information on how to modify the camera to make it compatible with contemporary digital equipment. Although Pixelvision garners little recognition from mainstream culture, the camera's hipster cachet and perceived rarity has driven up prices in the community and in auctions. This thesis examines the position of the PXL 2000 camera within the history of moving image technology, and in the context of today's digital video equipment. How has this obsolete video camera made the transition from analog to digital? The thesis also explores Pixelvision's position in the cultural hierarchy of media, as well as the motivations of artists and users who are creating with the camera today, as it moves further and further into its obsolescence.
by Andrea Nina McCarty.
S.M.
Daniels, Tracy K. (Tracy Kim). "Hybrid cinematics : rethinking the role of filmmakers of color in American cinema." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42422.
Full textIncludes bibliographical references (leaves 69-71).
This thesis explores the practices of filmmakers of color in the United States who employ strategies to circumvent industrial, financial and cultural barriers to production and distribution. To overcome these barriers, many filmmakers of color in the United States operate as independents, which can allow them to route around Hollywood or forge a new space within. For most contemporary independent minority filmmakers, such as those from Latin, Asian, Pacific, Native and African American communities, an amalgam of political, industrial, economic and technological shifts have both facilitated and hindered access to crucial funding and distribution opportunities, which in turn impacts their ability to control and shape their imagery and identity. The result of these impediments inspires a mix of endeavors by those who seek mainstream access and success, those who seek independent status, and the hybrid practices of those who increasingly negotiate between the two. Hybrid Cinematics describes practices of those who negotiate such strategies to not only overcome persistent barriers, but also to strengthen their presence and authority within the American motion picture industry.
by Tracy K. Daniels.
S.M.
McHodgkins, Angelique Melitta. "Indian Filmmakers and the Nineteenth-Century Novel: Rewriting the English Canon through Film." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1130955416.
Full textTitle from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).
Thabet, Mezghani Wafa. "The voice of silence as echoed by female filmmakers : reading between the shots." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3108.
Full textThe current research aims to explore several of the manifold states of silence represented in film and to investigate how silence and silencing have been perceived and conceived by female filmmakers from a Critical Discourse Analysis (CDA) perspective.This is achieved by examining the case studies of four feature films produced in the twenty-first century by four female filmmakers from two different cultural backgrounds–namely the USA and Tunisia. Research questions are qualitatively applied to a corpus of four films, following Fairclough’s (1989) three analytic stages: description, interpretation and explanation, using pragmatics combined with semiotic analysis. The thesis also introduces the concept of ‘voicing’ with reference to the semiotic signs and film techniques that underpin the meaning of silence and its pragmatic dimension.The findings of the study show that using ‘voicing’ has proved to be effective in creating a systematic method of analyzing silence in films. They also show that even though the cinematographic practices, the themes dealt with and the socio-cultural background of the filmmakers may be different, there is a common denominator between the four films: their feminist or pro-feminist agenda.Further, it argues that the films under discussion may be considered as barriers of resistance to the hegemonic patriarchal mainstream cinema and that these barriers are strongly influenced by the filmmakers’ own individual perceptions, personal experiences and cultural background
Lin, Hui-Ling. "Bodies in motion : the films of transmigrant queer Chinese women filmmakers in Canada." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33753.
Full textCheng, Feng. "Constructing a New Asian Masculinity: Reading Lilting Against Other Films by Asian Filmmakers." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20520.
Full textParks, Tyler Munroe. "Subtle way out : cinematic thought, belief in the world, and four contemporary filmmakers." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15978.
Full textAlbright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.
Full textWeinberger, Gabriele W. "Aesthetics and politics of fascism : West German women filmmakers in the nineteen seventies /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487590702991884.
Full textAlbright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.
Full textAsprey, Michele Monica. "Postwar British Cinema and the Death Penalty: Filmmakers, Social Change and Legal Reform." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29407.
Full textMullins, Anthony. "Screenwriting with Stanislavsky : Augmenting a Screenwriting Process Using Stanislavsky’s ‘System’." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366510.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Dunn, Melissa L. "An investigation of the effectiveness of the Internet as a tool for independent filmmakers." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.
Full textSource: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 21).
Zambon, Achille <1990>. "Le potenzialità del medium audiovisivo nel racconto d'impresa. Prospettive d'interazione tra aziende e filmmakers." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4832.
Full textVazquez, Rebecca M. "The rise of interactive cinema and its significance for filmmakers, audiences, and the exhibition industry." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/525.
Full textB.A.
Bachelors
Arts and Humanities
Cinema Studies
Giannatou, Evangelia. "Exploring the sociotechnical dynamics of the Creative Commons Licenses : the case of Open Content filmmakers." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/19520.
Full textCavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.
Full textTitle from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.
Smith, Thomas J. II. "Architecting an Online Social Resource for Amateur Filmmakers using a Hybrid Systems Engineering and Agile Approach." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/451.
Full textBozic, Sonja. "Transmedia Storytelling Through the Lens of Independent Filmmakers: A Study of Story Structure and Audience Engagement." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou154152508641946.
Full textYoung, Kaufman Francesca. "Contested representation : an historical reassessment of the work of art filmmakers in the PRC, 1989-2001." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/30123.
Full textAlrimawi, Tariq. "Issues of representation in Arab animation cinema : practice, history and theory." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14969.
Full textNguyen, Alan Duc Khoi. "Utilising Principles of Cinematography to Communicate Anti-Violence and Anti-Vengeance Themes in a Revenge Film." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/375769.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
Craddolph, Hayden V. "Developing a community of independent fim/video producers to foster creation, marketing, and distribution of digital media." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Hayden Film Festival website, 2006. http://www.haydenfilms.com/.
Full textSource: Masters Abstracts International, Volume: 45-06, page: 2805. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 58-59).
Wolf, Nicole [Verfasser], and Werner [Akademischer Betreuer] Schiffauer. "Make it Real. Documentary and other cinematic experiments by women filmmakers in India. / Nicole Wolf. Betreuer: Werner Schiffauer." Frankfurt (Oder) : Universitätsbibliothek der Europa-Universität Viadrina Frankfurt, 2013. http://d-nb.info/1031630945/34.
Full textHuang, Yin. "Being Feminist as a Discourse?Investigating Narrative Cinema with Female Protagonists Directed by Chinese Post-Fifth-Generation Filmmakers." Thesis, University of Canterbury. Cultural Studies, 2013. http://hdl.handle.net/10092/8448.
Full textSteedman, Robin. "Nairobi-based female filmmakers and the 'Creative Hustle' : gender and film production between the local and the transnational." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26663/.
Full textLuan, Lingfei. "Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467295770.
Full textHodgson, Philip. "Oppositional spaces : an evaluation of post-nationalist film theory using the work of migrant, exilic and diasporic filmmakers." Thesis, Northumbria University, 2013. http://nrl.northumbria.ac.uk/26289/.
Full textSparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle." Thesis, Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
Full textSparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
Full textAraújo, Juliano José de 1981. "Cineastas indígenas, documentário e autoetnografia : um estudo do projeto Vídeo nas Aldeias." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285321.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T13:45:41Z (GMT). No. of bitstreams: 1 Araujo_JulianoJosede_D.pdf: 16332564 bytes, checksum: f98c8578603358e2a303c0790db93366 (MD5) Previous issue date: 2015
Resumo: Criado em 1986 pelo indigenista e documentarista Vincent Carelli, o projeto Vídeo nas Aldeias (VNA) objetiva fortalecer as identidades, patrimônios culturais e territoriais dos povos indígenas através dos recursos audiovisuais. O VNA atua como uma escola de cinema para os povos indígenas brasileiros por meio de oficinas de formação em audiovisual realizadas nas aldeias e na sede do projeto, em Olinda, no estado de Pernambuco. Desempenha também um papel fundamental como entidade responsável pela captação de recursos, produção e distribuição dos documentários. Nesse contexto, esta pesquisa analisa 28 documentários da série "Cineastas indígenas" realizados entre 1999 e 2011 no âmbito do projeto VNA. Trata-se de seis curtas-metragens e 22 médias-metragens de cineastas indígenas das etnias Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará e Xavante. Essa produção audiovisual de não-ficção é considerada como uma prática de autoetnografia no documentário, à medida que ao conceder a câmera para os indígenas lhes é permitido o que dizer, quando, onde e como filmar, a partir de uma perspectiva interna, na qual eles apresentam suas aldeias, seu cotidiano, sua história, suas festas e rituais, como também os problemas sociais que enfrentam. Nesse sentido, a tese propõe a categoria de documentário autoetnográfico para o corpus analisado, tendo como questões norteadoras: Quais são os procedimentos de criação, métodos de trabalho e condições de realização dos documentários autoetnográficos do projeto VNA? E as posturas éticas, opções estéticas e técnicas neles presentes? Qual a importância desses filmes para as comunidades indígenas que deles participam? Com que finalidade eles são realizados? A partir da análise fílmica, em uma perspectiva textual e contextual, isto é, estabelecendo um diálogo entre elementos internos (imagem, som etc.) e externos dos documentários (entrevistas com realizadores indígenas, equipe do VNA, sujeitos filmados, conceitos das teorias do cinema antropológico e documentário etc.), apresenta-se o estudo do corpus enfatizando, respectivamente, as dimensões ética, estética e política da produção audiovisual de não-ficção do projeto VNA. Considera-se essas três dimensões do discurso fílmico como fundamentais para se compreender melhor a categoria de documentário autoetnográfico que, para além de um conceito dos estudos pós-coloniais, acredita-se constituir em uma tomada de posição e reflexão do campo do cinema diante dos filmes dos realizadores indígenas. A análise dos documentários autoetnográficos do projeto VNA revela: um processo de realização cinematográfica (preparação, filmagem e montagem) no qual a autoria é compartilhada, sendo a ética um elemento presente em todas as etapas; o emprego e a modulação de diferentes gestos estéticos com uma forte influência dos cinemas direto/verdade, mas também questões que emergem com força na produção audiovisual de não-ficção contemporânea, como a encenação e o uso das imagens de arquivo; o papel político desempenhado pelos documentários, tendo em vista que se direcionam aos espectadores não-indígenas, seus enunciatários, para discutir a relação entre história oficial versus história não-oficial, a identidade e cultura indígenas, ou ainda para denunciar, reivindicar e lhes dar visibilidade
Abstract: Created in 1986 by the indigenist and documentary filmmaker Vincent Carelli, the project Vídeo nas Aldeias ¿ VNA (Video in the Villages) aims at reinforcing the identities, cultural and territorial patrimonies of indigenous peoples by means of audiovisual resources. VNA works as a cinema school and provides Brazilian indigenous peoples with workshops on audiovisual production, both in the villages and at the project headquarters, located in the city of Olinda, in the state of Pernambuco. It also plays a fundamental role as the responsible entity for the fundraising, production and distribution of documentaries. In this context, this research analyzes 28 documentaries from "Indigenous Filmmakers", a series produced by VNA from 1999 to 2011. This set of documentaries includes 6 short films and 22 medium-length films by indigenous filmmakers of the ethnic groups Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará, and Xavante. This nonfiction audiovisual production is seen as a practice of autoethnography inside the documentary: once the Indians are provided with cameras, they are also allowed to decide what to say, when, where and how to shoot. From an inner perspective, they present their villages, their daily life, their histories, their rituals and traditional events, as well as the social problems they face. That being said, this dissertation argues that the corpus analyzed in this work fit into the category of autoethnographic documentary and presents the following questions: What are the creation procedures, working methods and realization conditions involved in the production of VNA¿s autoethnographic documentaries? And what are the ethical stances, the aesthetic and the technical options presented by them? What is the importance of these films for the indigenous communities that take part in them? For what purpose are they made? The study of the corpus is based on filmic analysis, from textual and contextual perspectives, that is, establishing a dialogue between internal (image, sound etc.) and external (interviews with indigenous filmmakers, the VNA¿s staff, the filmed subjects, concepts from the anthropological cinema and documentary film theories etc.) elements of the documentaries. It also underscores the ethical, aesthetical and political dimension of VNA¿s nonfiction audiovisual production. These three dimensions of the filmic discourse are seen as fundamental for a better comprehension of the autoethnographic documentary ¿ a category which is not only a concept from the postcolonial studies, but also a way through which cinema takes a stance and reflects on the production of indigenous filmmakers. The analysis of VNA¿s autoethnographic documentaries reveals: a filmmaking process (preparation, filmmaking and montage) in which authorship is shared and the ethics an element present in all these steps; the employment and modulation of different aesthetic gestures, a strong influence from the direct cinema/cinéma vérité, alongside issues that emerge with force in the contemporary nonfiction audiovisual production, such as the staging and the use of archival footage; the political role played by the documentaries, since they are addressed to the non-indigenous public in order to discuss the relation between official and unofficial history, indigenous identity and culture, or even to denounce, claim and give visibility to indigenous peoples
Doutorado
Multimeios
Doutor em Multimeios
Dakessian, Areck Ardack. "Casting nets and framing films : an ethnography of networks of cultural production in Beirut." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31464.
Full textDean, Jennifer Watson Reckley Vallejos Alice Ruth. "Chicanisma in film and literature Chicana filmmakers and authors (re)discovering and (re)presenting history and culture through films and novellas /." Diss., UMK access, 2004.
Find full text"A thesis in liberal studies." Typescript. Advisor: Alice Reckley-Vallejos. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 23, 2006. Includes bibliographical references (leaves 189-198). Online version of the print edition.
Xu, S. X. "Hong Kong cinema since 1997 : the response of filmmakers following the political handover from Britain to the People's Republic of China." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/350770/.
Full textShapiro, Amanda J. "You Only Live Twice: The Representation of the Afterlife in Film." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/280.
Full textFerrero-Regis, Tiziana, and n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.
Full textFerrero-Regis, Tiziana. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366053.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Full Text
Magallanes-Blanco, Claudia. "Video, a revolutionary medium for consciousness-raising in Mexico a dialogic analysis of independent video makers on the Zapatistas /." View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050622.151734/index.html.
Full textThesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.
Sonboli, Hassan. "Digital Docu-fiction: A Way to Produce Kurdish Cinema." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366037.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of art
Arts, Education and Law
Full Text
Santiago, Arminda V. (Arminda Vallejo). "The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500765/.
Full textVan, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.
Full textKupfer, Stephanie. "Female auteurs in evolution: the filmmaking of Claire Denis and Catherine Breillat." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6452.
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