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Dissertations / Theses on the topic 'Hollywood'

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Published: 4 June 2021

Last updated: 28 July 2024

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1

Vaughan, Nathan Marc. "Hollywood synergy." Thesis, Loughborough University, 2006. https://dspace.lboro.ac.uk/2134/36125.

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This thesis is a theoretically informed and empirical analysis of synergistic processes within Hollywood production and circulation. Drawing on the distinction between economic and cultural synergy, the thesis proposes an argument concerning the homology and interaction of these modes and how they have developed from an intensive to an extensive form. The study combines theoretical perspectives from the political economy of culture and cultural analysis with film studies. It also draws upon the sociology of organisations and notes how synergy has been somewhat neglected in management theory as well as in media studies.

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2

Glancy, H. Mark. "Hollywood and Britain : the Hollywood 'British' film, 1939-1945." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333476.

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3

Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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4

Jönsson, Andreas, and Camilla Lawitz. "Hollywood som historielärare." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32139.

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I det här arbetet vill vi ta reda på hur historiska spelfilmer förhåller sig till historiemedvetande. Det vi främst fokuserar på är hur högstadieelever relaterar till historisk spelfilm och hur deras historiemedvetande påverkas av den audiovisuella historieförmedlingen i skolan, i avsikt att framställa en matris för hur undervisning med hjälp av film ska ske. Ytterligare ett inslag i denna uppsats utgörs av en redogörelse kring hur man praktiskt går till väga när man arbetar med film i undervisningssammanhang. För att uppfylla syftet har vi använt oss av en kvalitativ metod med semistrukturerade intervjuer. Idag konkurrerar skolans kunskapsmonopol med populärkulturen. I takt med medievärldens expansion har den tekniska utvecklingen och intresset för tekniska medel ökat i samhället. Filmtekniken har förbättrats, vilket har lett till att spelfilmer framstår som mer autentiska än vad de tidigare har gjort. Vårt intryck är att den historiska spelfilmen som ett hjälpmedel i undervisningen får en allt större plats i den svenska skolan. Få läromedel kan få elever att leva sig in i historiska miljöer och ännu färre kan beröra elever emotionellt som just spelfilmen. En annan fördel med spelfilm i skolan är att eleverna får verktyg så att de kan hantera mediernas bild av världen ur ett källkritiskt perspektiv.
With this essay we want to examine the relation between historical movies and historical conciousness. Our main focus is on how seniors of compulsory school relates to historical movies and how their historical conciousness is effected by the audiovisual funds in teaching of history, in purpose to develope a matrix for teaching involving movies. An additional element of our studie represents a short account of how to practically use movies in shool. In order to do this we have chosen a qualatative method with semistructured interviews. Today, school is challenged by e.g. popular cultur. In a time of an increasing flow of media in society, the interest for technical aid has increased in the society. The technical methods in moviemaking has been improved and has conveyed to movies beeing more authentic than they ever been before. Our impression is that movies based on historical events becomes more inported in school. Few didactical aids enables pupils to embrace the historical enviroment and even fewer can touch pupils’ emotions. Another advantage is that movie gives the pupils tools to create a critical thinking when relating to the medias’ perception of the world.

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5

Macedo, Litiane Barbosa. "Hollywood romantic comedies." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/123434.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014.
Made available in DSpace on 2014-08-06T18:12:08Z (GMT). No. of bitstreams: 1 326765.pdf: 1947912 bytes, checksum: 24a5ffd6256800c0a39b95337f4997fd (MD5) Previous issue date: 2014
Comédias românticas têm sido produzidas no cinema popular desde os primeiros filmes com som (Grindon, 2012). Considerando a popularidade deste gênero (Abbott & Jermyn, 2009), e o papel da mídia na construção de identidades como provedor de modelos de como ser e agir (Gauntlett, 2008), a investigação destes tipos de filme pode ajudar a desvendar as representações de gênero de contextos sociais específicos. Além disso, uma perspectiva social semiótica para analisar textos fílmicos pode contribuir para interpretar criticamente como os recursos semióticos são usados em contextos distintos, e como esses recursos constroem a realidade através de discursos, dando oportunidade para questionar estas representações nas quais são normalmente consideradas como naturais. Portanto, o objetivo desta pesquisa é analisar criticamente a representação das protagonistas, Ellie Andrews e Margaret Tate das comédias românticas Aconteceu Aquela Noite (1934) e A Proposta (2009), com base nos estudos de Semiótica Social e Multimodalidade, Linguística Sistêmica-Funcional, Estudos de Gênero e Filme. Este estudo pretende desvendar a construção semiótica-discursiva destas representações, e então contrastá-las a modo de indicar se os discursos sobre feminidade mudaram com o passar dos anos, assim como os papéis das mulheres dentro do contexto de relacionamentos íntimos heterossexuais. Os procedimentos da pesquisa envolvem uma análise verbal e visual detalhada das cenas selecionadas através do sistema de transitividade (LSF) e significados representacionais (GV), e a interpretação dos resultados sob a perspectiva das referencias teóricas deste estudo. Os resultados mostram que, apesar de algumas mudanças progressivas com relação à representação da mulher, ambos os filmes reforçam normas tradicionais de gênero e papeis de feminidade em relações amorosas.

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6

Shanadi, Govind. "Hollywood representations of biotechnology /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421624771&sid=3&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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7

Skov, Adam Vincent. "China's Influence on Hollywood." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460984628.

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8

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.

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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.

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9

Franz, Norbert. "Hollywood – Moskau – Hollywood : Cirk, Ninotchka und andere. Oder: Ein kleines Kapitel Kinogeschichte als Beziehungsgeschichte." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5743/.

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10

Lewis, Shane. "Costume in "New Hollywood" movies /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17806.pdf.

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11

Eldridge, David. "Hollywood and history, 1950-1959." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401227.

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12

Reynolds, Alisa. "Edward Steichen and Hollywood Glamour." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/9.

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As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.

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13

Flanagan, Martin James. "Mikhail Bakhtin and Hollywood film." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366117.

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14

Brereton, Pat. "Ecological utopianism and Hollywood cinema." Thesis, University of Bedfordshire, 2002. http://hdl.handle.net/10547/622149.

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The primary focus of this dissertation is to explore a range of light/dark ecological metaphors, which can be read across popular Hollywood cinema from the 1950s to the end of the century. In particular this representational growth in ecological consciousness will be surveyed across a range of genres including Westerns, road movies and science fiction fantasies in particular. Alternative embodiments and agencies of an ecological consciousness, especially feminist and native American Indian, will be closely examined, alongside a white, middle-class, liberal, eco-sensibility, which has become more dominant within modern Hollywood, as evidenced by the Spielberg oeuvre. Each chapter will address a specific theoretical aspect of the study while drawing on detailed examples to illustrate the thesis in general. It is the overall contention of this study that such symbolic expression is both 'shrinking the world' while at the same time 'giving citizens, governments and corporations a heightened consciousness that there are real global ties and maybe a global identity for the occupants of spaceship earth' (Allen et al. 1995: 173). Alongside a more tangible and overt expression of 'light' ecology in film, the human species evolving symbiotic relation with the cosmos (and the resultant oneness with nature) will also be explored. This burgeoning thematic expression is often codified within the duality of a utopian/dystopian future particularly evidenced in the science fiction genre, which continuously adapts and modifies notions drawn from 'deep ecology'. The primary strategy used to uncover such ecological expression incorporates the close textual exploration of space/place alongside moments of excess/sublime within many 'feel good' utopian/dystopian Hollywood texts. This will be articulated through a variety of expressions of rural/urban space and landscape as codified within particular eco-registers by various human and post-human agents, which sometimes transcend the more normative ideological textual specificities of race/class/gender.

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15

Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.

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Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.

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16

Grimmer, Robert, Jordain McDanel, Hannah Nicklos, Ashley Raujol, Lauren Rosell, and Stacey Thurston. "Census Tract 11: Barrio Hollywood." The University of Arizona, 2017. http://hdl.handle.net/10150/623546.

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17

Kendrick, James. "Screen violence and the New Hollywood." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167809.

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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2005.
Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1202. Adviser: Joan Hawkins. "Title from dissertation home page (viewed Nov. 15, 2006)."

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18

Pinsonneault, Michael. "Social dimensions of Hollywood movie music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ43591.pdf.

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19

Baker, James J. III. "F. Scott Fitzgerald: A Hollywood Tragedy." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/266.

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F. Scott Fitzgerald was a product of the era he was at his zenith: the roaring 1920s. By the time he arrived in Los Angeles, he was short on money and the audience for his novels and writing was waning. This work explores his time in L.A., his attitude toward cinema & the Hollywood system, and how he incorporated what he learned from screenwriting into The Last Tycoon, the unfinished novel that Fitzgerald aimed to revive his own career with.

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20

Hamad, Hannah. "Postfeminist fatherhood and contemporary Hollywood stardom." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501744.

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Contemporary Hollywood cinema is rife with representations of fatherhood, and such depictions have been mediated most visibly and ubiquitously through major stars such as Tom Cruise, Mel Gibson, Tom Hanks and Eddie Murphy, via their screen personae and wider publicity images. This is indicative of a media culture inflected with values specific to a postfeminist ideological climate. Postfeminism operates to naturalise these images of fatherhood as both progressive in terms of the gender politics they purport to depict, and inevitable given the effects, perceived or otherwise, of second-wave feminism on contemporary Western consensuses regarding parenting and gender equity. This representational phenomenon is also symptomatic of a socio-political state of affairs with a hegemonic ideological viewpoint, perpetuated with aid from these judiciously mediated images of postfeminist fatherhood, that have emerged from a media culture that seems superficially to dissipate the insidious aspects of this postfeminist yet patriarchal ideology.

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21

Stanfield, Peter. "Dixie cowboys : Hollywood and 1930s westerns." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285389.

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22

Falconer, Peter. "Melancholy in Hollywood westerns, 1939-1962." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35234/.

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This thesis uses the concept of melancholy to extend and develop the critical understanding of the Western genre. It focuses on the various ways in which Westerns made in Hollywood between 1939 and 1962 can be said to express melancholy. It proposes that, during the period in which Western movies were an important and popular part of mainstream film production, the conventions of the genre were familiar and well-developed enough to permit a wide range of sophisticated expressive possibilities. The complex and ambiguous associations attached to the notion of melancholy make it particularly suitable for demonstrating this. The Review of Literature addresses the major perspectives through which Westerns have been conceived and understood within Film Studies, and assesses their relevance to the methodology employed in this thesis. It also considers some of the wider contexts that will be employed in the discussion of the genre and its conventions that will follow. The Introduction to Melancholy establishes a fuller cultural, historical and intellectual context for the particular focus of the thesis, and suggests some of its specific applications in relation to Westerns. The main section of the thesis is divided into four chapters. Each of these examines a particular feature of the Western genre that can be used to express melancholy. Chapter 1 discusses the conventions that are employed to frame our understanding of violence in the genre. The melancholy implications of these conventions, and the problems that arise out of them, are considered in relation to a number of films from the period. Chapters 2 and 3 deal with more specific and localised tropes which function as melancholy reflections of other aspects of the genre. Chapter 2 looks at the night-time town as an alternative melancholy space within the generic world of the West. Aspects of the previous chapter’s discussion of violence are developed in this context, through the detailed analysis of the use of the night-time town in Pursued, Rio Bravo, The Man Who Shot Liberty Valance and Stagecoach. Chapter 3 examines the figure of the old man as a melancholy counterpart to the Western hero. It demonstrates a long-standing connection between the two character types within the genre, and investigates how this connection is used to portray the hero in a melancholy light. The first half of the chapter examines the melancholy relationship between the hero and old men as supporting characters in Blood on the Moon and Yellow Sky. The second half develops some of the same issues further in relation to old men in more prominent roles in Man of the West and Ride the High Country. Chapter 4 considers the use of music to express melancholy in Westerns. Its particular focus is the Western title song, and the period of the early 1950s when it came to prominence. More broadly, the chapter looks at the effects of combining styles and conventions from Western movies and popular music, and the ways in which this combination can produce melancholy. The films whose title songs are examined in detail are High Noon, Rancho Notorious, Johnny Guitar and River of No Return.

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23

Abbott, Henry R. "Chinese Urban Youths and Hollywood Blockbusters." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367590914.

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24

Bingham, Dennis. "Male spectatorship and Hollywood star acting /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245465453.

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25

Adamson, Kristian. "Ethics and emancipation in postfeminist Hollywood." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9425.

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The thesis develops new methods to critique postfeminist film by combining research into production cultures with an analysis of representations of women’s ethical subjectivity. Drawing on the work of Tania Modleski, Angela McRobbie and Yvonne Tasker, the thesis argues that critiques of postfeminism centered on evaluations of “positive” and “negative” representations has resulted in a discursive stalemate. This stalemate signals the need to consider new ways of thinking about postfeminist film. The first half of the thesis reports on original research of 700 films from 1980 to 2009. This research, supplemented with data from Martha Lauzen and Stacy Smith, demonstrates that men are overwhelmingly over-represented in key creative roles while women’s participation rates have stagnated or are in decline. The data also reveals how traditional expectations of women’s labour are repeated within creative industries and in particular Hollywood. The second half of the thesis concerns the concept of ethical subjectivity. Starting with an overview of the philosophical category of the ethical, the concept is developed into a broad analytic framework with reference to specific feminist demands. A number of popular and high-grossing Hollywood films that are historically subject to feminist analysis are reconsidered using this new framework. This second look reveals the ambiguity that operates as a means to hide the regulation of women’s ethical subjectivity in postfeminist film. The synthesis of these two approaches demonstrates how postfeminism acts as a proxy for patriarchy in the management of the meaning and scale of feminism and women’s emancipation in Hollywood. This result shows the potential value in considering labour and production as part of cultural analysis of postfeminism and indeed cultural studies more broadly.

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26

Gruffman, Mathias. "Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema." Thesis, Örebro University, Department of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1555.

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This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.

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27

Oltmann, Katrin. "Remake - Premake : Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960 /." Bielefeld : transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960330&prov=M&dok_var=1&dok_ext=htm.

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28

Dammann, Lars. "Kino im Aufbruch : New Hollywood 1967-1976 /." Marburg : Schüren, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016300992&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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29

Wang, Ting. "Global Hollywood and China's filmed entertainment industry." online access from Digital Dissertation Consortium access full-text, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3230167.

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Kleiner, Felicitas. "Scheherazade im Kino "1001 Nacht" aus Hollywood." Marburg Schüren, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2710726&prov=M&dok_var=1&dok_ext=htm.

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Kleiner, Felicitas. "Scheherazade im Kino : "1001 Nacht" aus Hollywood /." Marburg : Schüren, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2710726&prov=M&dok_var=1&dok_ext=htm.

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32

Warczinski, Anne. "Luc Besson : entre exception culturelle et Hollywood." Master's thesis, Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-124365.

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« L’exception culturelle franco-française est morte » (cité dans L’Express 19.11.2009). C’est ce que Jean-Marie Messier, président et directeur général de Vivendi (Altman 2002), a déclaré lors de la fusion de son entreprise avec la société de production américaine Universal en 2001 à New York (Vidal/Ministère de la culture et de la communication 2002). Cette déclaration a provoqué l’outrage aussi bien dans le gouvernement français que parmi les professionnels du cinéma, d’autant plus que Messier a ajouté que « les angoisses franco-françaises sont archaïques » (cité dans ebd.). En effet, depuis les négociations du GATT en 1993, l’exception culturelle, un concept qui a été mis en place par le Ministère de la culture afin de protéger la culture française de l’hégémonie américaine, est l’une des préoccupations principales de l’État français. Le gouvernement considère qu’il est nécessaire de mettre en place une politique protectionniste vis-à-vis des biens culturels pour empêcher que la France soit envahie par la culture américaine et de mettre fin à la « cocacolonisation », du moins au niveau culturel (Cohen 2002). Ce protectionnisme culturel sous forme d’une exception culturelle est propre à la France et à l’Union Européenne, qui a copié le modèle, et c’est pour cette raison qu’il est intéressant d’y réfléchir ; à plus forte raison puisqu’elle semble fonctionner : la France est le deuxième pays exportateur de films dans le monde (Lanzoni 2002:363). Ce qui semble alors paradoxal, c’est que la profession française du cinéma elle-même n’ait pas trouvé de consensus au sujet de l’exception culturelle. En effet, Luc Besson, l’un des cinéastes français qui connaît un très grand succès en France, aux États-Unis et dans le monde depuis les années quatre-vingt, a déclaré : « There is no cultural exception » (cité dans Maule 2006:31). L’hégémonie culturelle venant des États-Unis joue également un rôle primordial dans le développement d’une exception culturelle en France qui cherche avant tout à protéger sa propre culture contre une mondialisation culturelle unilatérale dont les règles sont dictées par les États-Unis. La nécessité d’instaurer un modèle français protégé a en effet principalement pour but de freiner l’influence américaine sur les produits culturels français, que ce soit au niveau de l’économie (aspect commercial) ou au niveau de la diffusion et de la création du cinéma (aspect productif). Dans ce contexte du conflit franco-américain dans le domaine de la culture et du cinéma, nous voyons émerger depuis le milieu des années 1980 un nouveau réalisateur français qui est à la fois admiré et exécré : Luc Besson. Il a créé un modèle de réalisation et de production unique dans le monde, se détachant à la fois de l’exception culturelle et du système américain des grands studios libéraux. Il fusionne les deux modèles de production pour en faire un modèle unique dans le monde, destiné à concurrencer Hollywood de façon efficace et innovatrice. Au cours des recherches menées pour ce travail, il s’est rapidement avéré que la littérature au sujet du système de protection de la culture française est nombreuse. De même, nous trouvons une multitude d’oeuvres au sujet de l’hégémonie culturelle américaine. Cependant, il n’existe pratiquement aucune oeuvre qui fait la comparaison entre les deux systèmes ou qui analyse comment le système français de l’exception culturelle, dominé par la culture américaine, change sous l’influence de cette dernière. En outre, très peu d’auteurs s’intéressent aux films de Luc Besson et les analysent en profondeur alors qu’il connaît un succès particulièrement important en tant que réalisateur et producteur, peut-être parce que ce dernier est souvent considéré comme étant trop commercial et trop en écart avec les exigences de l’exception culturelle en France (Maule 2011:46). En effet, ce sont surtout des chercheurs britanniques qui s’intéressent à ses films même si le travail académique au sujet de Besson reste toujours très limité (ebd.). Le but du présent travail sera donc d’explorer un nouveau terrain de la recherche du cinéma français en tentant de faire cette comparaison directe mentionnée ci-dessus ainsi que d’accorder à Luc Besson l’importance qu’il mérite puisqu’il constitue incontestablement un metteur en scène important pour le paysage cinématographique de la France des années 2000. Au cours de ce travail, nous allons donc nous poser les questions suivantes : Qu’est-ce que l’exception culturelle et comment fonctionne-t-elle ? Quelles sont les difficultés auxquelles l’exception culturelle doit faire face ? Le cas échéant, comment expliquer son succès ou son échec ? La France a-t-elle réussi à résister face à l’hégémonie culturelle des États-Unis et si oui, comment ? Quelle est l’influence des États-Unis sur la création cinématographique en France et quels sont les aspects qui opposent principalement ces deux pays au niveau de la création, de la production et de la diffusion des produits du cinéma ? Quel rôle Luc Besson joue-t-il dans le paysage cinématographique de la France et dans le monde ? Et comment les films de Luc Besson traduisent la façon de travailler de ce réalisateur et producteur, apparemment situé entre deux chaises dans ces deux mondes du cinéma tellement opposés ? Finalement, comment peut-on situer Luc Besson dans les deux systèmes, est-il un réalisateur plutôt français ou plutôt hollywoodien ? Ce sont les problématiques principales auxquelles le développement qui suit va tenter de répondre. Afin d’apporter des réponses à toutes ces questions, nous allons voir, dans un premier chapitre théorique, comment fonctionne l’exception culturelle française et, plus précisément, comment l’exception culturelle peut se définir, et quelles sont les difficultés auxquelles ce système cinématographique se voit confronté aujourd’hui. Ensuite, dans un deuxième chapitre, nous examinerons Luc Besson en tant que réalisateur français et/ou hollywoodien ainsi que ses films « pré-EuropaCorp », c’est-à-dire ses oeuvres réalisées avant la création de sa propre grande société de production en 2000. Dans un troisième chapitre, nous nous intéresserons au Luc Besson « post-EuropaCorp », c’est-à-dire aux changements dans la réalisation et la production survenus suite à la création d’EuropaCorp en 2000. La problématique centrale du deuxième et troisième chapitre tournera autour de la francité et/ou du caractère hollywoodien de Luc Besson et de ses films. Finalement, le quatrième et dernier chapitre constituera une synthèse et un bilan personnel des trois premiers chapitres. Il exposera également, dans une deuxième partie, les perspectives de Luc Besson et EuropaCorp dans le futur.

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Wilkinson, Simon Andrew. "Exploiting fear : directing the Hollywood horror franchise." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:7053.

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Jones, Nick. "Space and the contemporary Hollywood action sequence." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18062.

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This thesis investigates the manner in which the action sequences of contemporary Hollywood cinema reflect and constitute ways of imagining space. The thesis proposes that these sequences are highly spatialised presentations of bodily interaction with the world, and as such manifest cultural anxieties regarding the relationship between the individual and the built environment, and work to assure their viewers of the capacity of the human form to survive the disorienting spaces of contemporary architecture, globalisation and technology. In order to demonstrate this, the aesthetic and formal properties of action sequences are read alongside critical work exploring how space shapes social life, including influential texts by Henri Lefebvre, Michel de Certeau, Fredric Jameson and others. These readings reveal that both action sequences and critical spatial theory are similarly attentive to the difficulties, contradictions and possibilities of built space. A range of action sequences from Hollywood films of the last fifteen years, including sequences from Mission: Impossible - Ghost Protocol, The International, The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum, Jumper, Casino Royale, Quantum of Solace, Sucker Punch, Inception, Swordfish, The Matrix, The Matrix Reloaded, TRON: Legacy, Resident Evil, Resident Evil: Afterlife and Dredd 3D are analysed for how they depict space and spatial agency. Rather than concentrating upon the narratives of these films, the chapters of the thesis deal in turn with the ways in which action sequences express contemporary developments within the built environment; the consequences of globalisation; the impact of these spatial changes upon mental life; the challenges to bodily engagement raised by digital technology and cyberspace; and the modifications to representing space on film prompted by stereoscopic exhibition. Examinations of these sequences are used to build a model of the action sequence that suggests spatial appropriation and ideas around place-creation are crucial elements of the form.

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Karbe, Ariane. "Learning from Hollywood? : narrating exhibitions with suspense." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42752.

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A modern exhibition should be entertaining and suspense plays a vital role for entertainment media offerings. The lack of research on suspense in museum exhibitions is astonishing. This thesis aims to address this gap by investigating if and how cultural historical exhibitions could be narrated more attractively by adapting scriptwriting techniques used to produce suspense in popular films. A comparative analysis of three classical Hollywood films and three cultural historical exhibitions reveals that all dramaturgic devices described in cognitive film theory (Bordwell 1985) and how-to guides (Gulino 2004) are applied in the films, whereas barely any have been used in making of the exhibitions. As this does not prove that an application is impossible, a thought experiment explores possibilities to establish dramatic tension in exhibitions. The experiment together with the analyses suggest that decisive criteria of the exhibition medium complicate a narrating of suspenseful stories by fragmenting its structure. Having thus carved out the epic character of exhibitions (see Hanak-Lettner 2011) – in contrast to the dramatic nature of popular films – this thesis suggests, based on one of the rare scriptwriting manuals to address unconventional films (Benke 2002), that suspense could be created in exhibitions by introducing techniques which support the narrative flow, balancing exhibitions’ typical fragmentary structures. Conclusively, this thesis proposes to distinguish between mild and wild suspense, as a finer tool set for identifying different kinds of suspense. Thus the ground is laid for further studies on narrative suspense in exhibitions and also for practical experiments to tell suspenseful exhibition stories. This thesis contributes to transmedial narratology by describing the narrative potential of the exhibition medium but also the limitations of its storytelling capacity.

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Maageria, Jason Isoe. "Hollywood Made in Kenya: Domesticating or Appropriating?" Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067314404311.

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Lenos, Melissa. "Deja View: Cultural Functions of Hollywood Remakes." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/42057.

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Mass Media and Communication
Ph.D.
This dissertation examines Hollywood remakes of US films in order to discern how the narrative and formal modifications between originals and remakes are analogous across sets of films. Performing a discourse analysis that utilizes theories of popular culture and social memory, I argue that the patterns of changes confirm that remakes fulfill some functions of modern-day folktales: stories that are adapted for the needs and interests of their contemporary audiences but that simultaneously tend to reaffirm and promote traditional ideologies. By analyzing shifts and alterations in narrative, visual and structural tropes and changes in trends of representation, I examine the ways in which such phenomena as political and social movements and historic events are depicted and consider what cultural needs these representations may fulfill for their audiences. My process was driven by several research questions. First, what kinds of films get remade? Secondly, what are the differences in content and structure in each set of films analyzed in this study and what are the relationships between the remakes and their original source films? Finally, my primary questions are: how do narrative structures, characterizations and plots change or stabilize within the same story over time? How can we utilize these changes and constants to identify the cultural functions remakes may serve that make them so prevalent right now?
Temple University--Theses

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Cheng, Nancy Shui-Yen. "Getriebene Melancholiker Helden - Körper - Action in Hollywood." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2005. http://d-nb.info/990745465/04.

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Ould, Meiloud Ahmed. "The image of Arabs in Hollywood films." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1445035141&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Cheng, Nancy Shui-Yen. "Getriebene Melancholiker : Helden - Körper - Action in Hollywood /." Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang, 2008. http://d-nb.info/990745465/04.

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41

Levitt, Linda. "Hollywood Forever: Culture, Celebrity, and the Cemetery." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002416.

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De, Gobbi Francesca <1994&gt. "Hollywood and Ecology: raising awareness through cinema." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16514.

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The thesis analyses three Hollywood movies: An Inconvenient Truth (2006), Wall-E (2008) and Avatar (2009) and how they differently present the theme of ecology. Even though directors may not have the ecological theme in mind, the thesis highlights the ability of each movie to raise awareness for a huge number of audiences on environmentalism. The analysis includes explorations of politics, comedy, and fantasy as crucial factors for the reception of the ecological message. Despite the different interpretations that a movie can elicit, by presenting such a complicated theme, the thesis concentrates on the power of image that a film could provide, especially thanks to the potential of a Hollywood production company.

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Laisney, Simon. "Quel style de montage pour le Nouvel Hollywood ?" Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030158.

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En 1967, sous l’influence du jeune cinéma européen, Hollywood accède à son tour à la modernité : le « Vieil Hollywood » laisse place à un « Nouvel Hollywood ». Ce mouvement de renouvellement du cinéma américain, symboliquement inauguré par Bonnie and Clyde d’Arthur Penn et Le lauréat de Mike Nichols, est, explique-t-on, le fait d’une génération nouvelle de cinéastes, parmi lesquels, outre Penn et Nichols, Francis Ford Coppola, Brian De Palma, George Lucas, William Friedkin,Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson, Hal Ashby... Il est aussi le fait d’une génération nouvelle de monteurs, qui, en complicité avec leurs réalisateurs, éprouvèrent de nouvelles formes d’expressivité esthétique et narrative, sans craindre de contrevenir aux règles conventionnelles instituées par leurs aînés ; parfois même en réaction contre ces règles. On peut notamment citer, parmi ces fidèles et précieux collaborateurs, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, ou encore Ralph Rosenblum. Nous veillons à déterminer, dans cette thèse, la part de responsabilité, tant collective qu’individuelle, de cette nouvelle génération de monteurs dans le mouvement de renouvellement esthétique du cinéma américain. Et, au-delà des personnes, d’apprécier ce style de montage néohollywoodien, d’évaluer son importance dans la constitution du style neuf des films américains des années 1970, de même que l’étendue de ses innovations
In 1967, under the influence of European art films, Hollywood underwent important changes in the course of the 1960s : « Old Hollywood » was taken over by a « New Hollywood ». This process of renewal of American cinema, which has been symbolically launched by Arthur Penn’s Bonnie and Clyde and Mike Nichols’ The Graduate, is due, it has been said, to the arrival of a new – mostly film-school educated – generation of filmmakers, such as Francis Ford Coppola, Brian De Palma,George Lucas, William Friedkin, Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson or Hal Ashby. It is also due to the arrival of a new generation of film editors who did not fear to challenge the doctrine of classical Hollywood editing and break the established rules in order to take a chance and try new ways of telling a story. These films editors are, amongst others, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, or Ralph Rosenblum. Our thesis examines the share of responsability, on both a collective and individual level, of this new generation of film editors in this process of renewal of American cinema in the 1960s and 1970’s. Its goal is, more generally, to determine and appreciate this new editing style, realize its importance and its influence on the Hollywood Renaissance style, as well as the wide range of its innovations

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Richards, Rashna Wadia. "Lightning flashes a cinephiliac history of Classic Hollywood /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0015522.

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Russell, James. "Past glories : the historical epic in contemporary Hollywood." Thesis, University of East Anglia, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426950.

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Fradley, Martin. "White masculinity and paranoia in contemporary Hollywood cinema." Thesis, University of East Anglia, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410313.

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Chard, Holly. "Mainstream maverick? : John Hughes and new Hollywood cinema." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51552/.

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My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes' career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes' career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S. media. Drawing on an extensive array of previously unexamined primary materials, the thesis focuses on Hughes' shifting status as a “creative producer” within the U.S. film industry, as well as on the construction of the John Hughes “brand” during the 1980s and 1990s. I explore how Hughes secured considerable industrial power by exploiting opportunities presented by expanding ancillary markets and changing production agendas. I argue that established models for conceptualising industrial trends, such as Justin Wyatt's “high concept”, fail to capture the complexities of Hollywood's commercial strategies in this period. I conclude that historical research can challenge previous assumptions and contribute to a more detailed and precise understanding of the operations of the U.S. film industry in this period. By scrutinizing the films that Hughes wrote, produced and/or directed, I consider how Hughes' films are complexly determined industrial productions that are shaped both by a set of radically fluctuating commercial imperatives, as well as by Hollywood's standardized formats and frameworks. The production of Hollywood cinema may be a collaborative enterprise, but I argue that certain individuals and institutions can exert greater control over aspects of the process. In conclusion, I suggest that such a historical methodology can illuminate not just the work of one particular filmmaker but can shed new light on the broader operations of Hollywood as a commercial culture industry.

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Wong, Winnie Won Yin 1978. "Manufacturing realisms : product placement in the Hollywood film." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/70744.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.
Includes bibliographical references (p. 104-113).
Through an examination of filmic portrayals of the trademarked product as a signifier of real ownerships and meanings of commodities, this paper is concerned with the conjunction of aesthetic and economic issues of the Product Placement industry in the Hollywood film. It analyzes Product Placement as the embedding of an advertising message within a fictional one, as the insertion of a trademarked object into the realisms of filmic space, and as the incorporation of corporate remakings of the world with film fictions. Product Placement images are therefore seen as a systematic surfacing of frameworks and discourses - legal, corporate, economic, and filmic - as both seamless and disruptive layers in film images and film making.
by Winnie Won Yin Wong.
S.M.

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49

MacDowell, James. "The final couple : happy endings in Hollywood cinema." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49034/.

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This thesis concerns a very common, yet surprisingly under-examined, concept: the Hollywood ‘happy ending’. Focusing on an aspect of this convention that I call the ‘final couple’ (i.e.: an ultimate romantic union), the study examines movies from throughout the history of popular American cinema in order to interrogate common critical assumptions about ‘happy endings’. Chapter 1 questions the existence of the homogenous norm the ‘happy ending’ by attempting to define it – a task more challenging than the convention’s reputation would have us believe. Chapter 2 looks at the relationship between ‘happy endings’ and closure, arguing that, while some films succeed in making their final couples feel emphatically ‘closed’, others use different strategies to render the same convention comparatively ‘open’. Chapter 3 examines the connection between ‘happy endings’ and ‘unrealism’, considering firstly the traditionally close conceptual relationship between the ‘happy ending’ and fiction tout court, before, secondly, exploring the ways in which the final couple relates to debates concerning the ‘openness’ of life and the ‘closed’ nature of narrative. Chapter 4 addresses the ideology of ‘happy endings’ by discussing (1) what potential the concept of the final couple might be said to have for structuring viewers’ real-life romantic relationships, (2) the ideological implications of closure, and (3) the different ideological meanings that a final couple can convey in what is often taken to be an innately ‘conservative’ genre, the romantic comedy. The results of my analyses suggest that ‘happy endings’ are as conducive to variation as any other artistic convention – a fact that has significant ramifications for our thinking about Hollywood conclusions.

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Augé, Étienne F. "L'illusion culturelle : le monde de Hollywood 1990-2000." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0031.

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