Dissertations / Theses on the topic 'Motion picture authorhip'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 39 dissertations / theses for your research on the topic 'Motion picture authorhip.'
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.
Su, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.
Full textSu, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.
Full textOrfall, Blair. "Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textSnead, Nicholas DeVan. "Fabulistic: Examination and application of narratology and screenplay craft." CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.
Full text吳晶. "杜琪峯的電影世界 : 香港電影作者個案研究 = The cinema world of Johnnie To : a case study of auteur in Hong Kong." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/906.
Full textArmanno, Venero. "Three screenplay adaptations and the ownership effect." Thesis, Queensland University of Technology, 2003.
Find full textWilliams, Karen L. "Life After Man." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1658.
Full textGrist, Leighton. "Authorship and context : the films of Martin Scorsese 1963-1977." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/2952/.
Full textMcVeigh, Kathryn Margaret. "Work in progress : the writing of Short changed." Thesis, Queensland University of Technology, 1999.
Find full textWinters, Ben. "Korngold's merry men : music and authorship in the Hollywood studio system." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:c5f13b67-57e1-48d7-aa97-2867b2bfd36c.
Full textRitchie, Brendan. "CooperStreet' (original screenplay); and, Into the foreground : an examination of setting in the screenplay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.
Full textCowley, Brent. ""Reality" while Dreaming in a Labyrinth: Christopher Nolan as Realist Auteur." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011762/.
Full textNatalenko, Rie. "Exegesis to support Heloise." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060807.152947/index.html.
Full textDefty, Tracey L. "Square pegs." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/855.
Full textBeaulieu, Renée. "Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.
Full textDugas, Hélène. "Le rêveur, scénario de film ; suivi de Étude sur la lucidité onirique et réflexion sur le processus de création scénaristique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33627.pdf.
Full textGustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
Full textRossetti, Sarah Rossetti Sarah Rossetti Sarah Rossetti Sarah. "Enigmatic pearls : authorship and representation : competing cultural positions in Pilbara Pearl, Nullabor Pearl and Shoalwater Pearl /." Murdoch University Digital Theses Program, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100316.114926.
Full textHuman, Jacobus Francois. "'n Kontrolelys vir die skryf en evalueer van dramadraaiboeke." Thesis, Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11052008-105503.
Full textFerenz, Volker. "Don't believe his lies : the unreliable narrator in contemporary American cinema /." Trier : Wiss. Verl. Trier, 2008. http://d-nb.info/990884805/04.
Full textRoberts, Daniel C. "Saturday Nights Alone." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd892.pdf.
Full textSaunders, Shahzneen Spencer. "From process to product : structuring the screenplay." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36332/1/36332_Saunders_1999.pdf.
Full textGoshorn, John. "The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.
Full textID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
Main, Sarah. ""Enacting the Story of Her Life": The Written Legacies and Enduring Mis/Perceptions of Zelda Fitzgerald." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564749555581709.
Full textMacià, Viles Jaume. "Models estructurals per a l’escriptura de guions de curtmetratge." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283806.
Full text"Structural Models for writing short scripts" has as its first goal to establish a classification, based on the observation of examples of various structural models of screenplay for the short film, that prevents the emergence of feelings of incompleteness or insubstantiality, two feelings that there is the risk that appear at the end of a short story and may leave the viewer dissatisfied. Based on two types of classification of arguments of feature-length films (depending on their construction and mode depending on its centre of interest), one comes to the conclusion that some of the structural models used in feature-length films are ideal for shorts, that others are not, and that some third parties are, but after entering some modifications. In addition, it establishes some structural models that are characteristic of short films. Secondly, the thesis describes a proposal for teaching a writing workshop short film scripts, taking as a basis the structural models previously established satisfactorily. In this teaching, students receive instructions in the initial process to write an plot for a short film that fits one of the structural guidelines laid down in the preceding paragraph. It is a proposal for a subject with small groups of students which adopts the format of a writing workshop. Thirdly, it leaves a record of the application of the aforementioned teaching materials within the framework of a semiannual course taught by the author of the thesis at the ESCAC (Escola Superior de Cinema and audiovisual de Catalunya), affiliated to the University of Barcelona, for two consecutive academic years (2011-12 and 2012-13), for third year students,in the scriptwriting mention, belonging to the Bachelor's degree in Cinema and Audiovisual Media. Through an investigation based on participant observation, the thesis shows the result of the application of the teaching materials. It provides a selection of scripts for students, comments and suggestions for improvement of the rest of the students and the professor, as well as the successive versions of the argument, born of these comments and suggestions. In fourth and last place, it evaluates the result of the work done by the students and the progression of their learning during the process.
Watson, Robert Stewart. "Richard Rorty, innovation strategies & movie inspiration." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41465/1/Robert_Watson_Thesis.pdf.
Full textCruz, Pereira Irina. "Heroínas del feminismo popular: autoría de mujeres en Hollywood." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673901.
Full textIn 1990 Marjorie Ferguson published «Images of Power and the Feminist Fallacy», an essay in which she challenged the assumption that there is a correlation between the raising feminist consciousness, female authorship in media and the representation of women in popular culture. This thesis explores whether Ferguson’s claim is still valid thirty years later, in a context marked by a strong influence of neoliberalism on feminist movements. The corpus analyzed in this thesis includes films with female protagonists in sagas previously led by men: Wonder Woman (2017), Mad Max: Fury Road (2015) and the Star Wars sequel trilogy (2015-2019). In all three cases, women authors occupy roles traditionally assumed to be male: directing (Patty Jenkins in Wonder Woman), editing (Margaret Sixel in Fury Road), and producing (Kathleen Kennedy in Star Wars). This thesis seeks to interrogate the varied and complex representations of feminism in popular culture, as well as the anti-feminist backlash in connection with popular misogyny, in order to address more fully the context in which these films have been produced as well as their critical reception —they were perceived by some critics as feminist works and, at the same time, repudiated by anti-feminist movements. Drawing on Janet Staiger’s (2003) work on authorship as a performative act through which a subject conceives herself as an author and is situated in a discursive structure that recognizes her as such, this thesis reads Hollywood as a figurative world in which individuals are located hierarchically and in which their agency is always partial and positioned, their gender being central to this positioning.
Funk, Grace H., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Screenwriting : an experience of a writing genre." 2004. http://handle.uws.edu.au:8081/1959.7/28254.
Full textDoctor of Creative Arts
Smith, Ruan. "Power dynamics in the construction of film dialogue." 2012. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000473.
Full textHow does a writer write good dialogue? This is the basis of this study. The need for investigation of this question arose due to the lack of information currently available to assist a writer a with a good dialogue-writing approach. Upon review of various literature contributions and articles, it was evident that this subject is relatively explored. The focus of the reviewed sources was mainly on the 'supposed' form and not on the theoretical methodology on constructing dialogue. Enganging this problem a qualitative method was used whereby a literature study identified three aspects, namely, discourse analysis, power dynamics and Stanislavsky's notions on acting. The works of James P. Gee, James C. Scott and Stanislavsky were the main sources used in the respective fields. From their work and others, a series of strategies for development of effective dialogue was developed. Essentially, these strategies drew on the notion of "language in Action" and thus engaged dialogue for film as a series of interactive utterance exchanges. The findings lead to a proposed model which integrates the above mentioned aspects, which were tested and analyzed. This model can assist a writer in the process of constructing dialogue. The conclusion of this study is that the aspects of the created model effects dialogue. If one of the aspects should change, then the dialogue will also change. This ensures a consistent methodical approach to construct dialogue.
MacKenzie, Elizabeth. "Sacrificial versions /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29581.
Full textIncludes: We'll always have Paris : a contextual essay on Sacrificial versions. Typescript. Includes bibliographical references. Includes filmography. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29581
Edwards, Kyle D. "Corporate fictions: film adaptation and authorship in the classical Hollywood era." Thesis, 2006. http://hdl.handle.net/2152/3764.
Full textFunk, Grace H. "Screenwriting : an experience of a writing genre." Thesis, 2004. http://handle.uws.edu.au:8081/1959.7/28254.
Full textDavison, Brad. "The narrative of Flippy Johnson : the three act structure : criticisms and alternatives : script and script analysis /." 2006. http://adt.waikato.ac.nz/public/adt-uow20060623.111844/index.html.
Full textUys, P. Gerhard. "The efficacy of an audio-visual aid in teaching the neo-classical screenplay paradigm." Thesis, 2011. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000322.
Full textThe central theoretical statement of this study is that if one wishes to teach dramatic narrative structure, then an instructivist instrument such as an AVA would be useful, while one takes care of teaching the application of such a structure in a constructivist fashion. The purpose of the study was to design an effective teaching and learning (T&L) instrument (DVD AVA), justify the design through a literature study, and test the efficacy of the AVA through approved quantitative research methods. The research results showed a significant increase (12.6%) in the students construction of knowledge and a more skillful application of screenplay structure when they were trained by way of the AVA intervention as opposed to the traditional method.
"「我(不)是電影作者」: 論許鞍華的女性電影作者倫理主體." 2012. http://library.cuhk.edu.hk/record=b5549385.
Full text本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具,嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點, 運用新主體工具帶動思考的轉向, 在建立女性電影作品中,對女性主體規範、性道德及國族身份的真理遊戲予以問題化,進行反思、批判挑戰以至顛覆自我技術 (technologes of the self )力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下,許鞍華電影作品中的延續性和差異,成為了她這倫理電影作者當下的、在地歷史和文化結構中, 於電影實踐這場域所進行修工夫,在宏大的權力和知識網絡中,轉化自我與我的主體關係,邁向傅柯式的自我實踐生存美學。
Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence.
With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
林婉雯.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 358-385).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Lin Wanwen.
Chapter 第一章 --- 緒論
Chapter 第一節 --- 研究動機:為什麼在乎女性電影作者?為什麼是許鞍華 --- p.1
Chapter 第二節 --- 研究背景:電影作者主體的問題化用及思考客體成形 --- p.11
Chapter 第三節 --- 研究方法及論文架構 --- p.36
Chapter 第二章 --- 晚期傅柯 「倫理主體 」的啟示
Chapter 第一節 --- 傅柯的主體觀:不是回歸,從來就是主體 --- p.47
Chapter 第二節 --- 主體和真理遊戲 :「知識」、 「治理 」和「主體化過程」 --- p.54
Chapter 第三節 --- 自我技術和自我關懷:主體與生存美學 --- p.63
Chapter 第四節 --- 小結 --- p.77
Chapter 第三章 --- 許鞍華的女性電影作者倫理主體(一):「我(不)是電影作者」 --- p.84
Chapter 第一節 --- 重拾遺落的碎片:電影作者論在香港構成條件 --- p.85
Chapter 第二節 --- 「電影作者 」的真理 遊戲 :許鞍華電影作者身份論述 --- p.118
Chapter 第三節 --- 集體創作中的自主創造: 《得閒炒飯》的實地觀察 --- p.140
Chapter 第四節 --- 小結 --- p.166
Chapter 第四章 --- 許鞍華的女性電影作者倫理主體(二):電影實踐作為自我技術的工夫場域 --- p.170
Chapter 第一節 --- 「我她是誰?」:女性主體的真理遊戲 --- p.175
Chapter 第二節 --- 馴服與抵抗:性道德規範的真理遊戲 --- p.250
Chapter 第三節 --- 何處是吾家:民族和家國的真理遊戲 --- p.281
Chapter 第四節 --- 小結 --- p.328
Chapter 第五章 --- 結論
Chapter 第一節 --- 「屈從」下的不服從:許鞍華女性作者倫理主體 --- p.335
Chapter 第二節 --- 研究特色與貢獻 --- p.340
Chapter 第三節 --- 前瞻:未完成的方案和可持續發展 --- p.349
附錄 --- p.351
參考文獻 --- p.358
Annovi, Gian-Maria. "In the Theater of my Mind: Authorship, Personae, and the Making of Pier Paolo Pasolini's Work." Thesis, 2011. https://doi.org/10.7916/D8PN9D1M.
Full textChandler, Wendy. "Evocative collaboration : collaborative animated documentary in Timor-Leste." Thesis, 2018. http://hdl.handle.net/1959.7/uws:51050.
Full textWillis, Robin M. "Street life : a case study on the social impact of participating in a film project on youths from the streets of Durban." Thesis, 2011. http://hdl.handle.net/10413/8263.
Full textThesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
Full textThis doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
Art and Music
Ph. D. (Art)