Dissertations / Theses on the topic 'Motion picture authorship'
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1
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.
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Su, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.
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Snead, Nicholas DeVan. "Fabulistic: Examination and application of narratology and screenplay craft." CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.
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This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.
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Armanno, Venero. "Three screenplay adaptations and the ownership effect." Thesis, Queensland University of Technology, 2003.
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This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel,
and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and
employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the
film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas.
Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some
control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the
producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.
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Williams, Karen L. "Life After Man." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1658.
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This thesis comprises two parts: a creative component consisting of a first-draft script for a feature film, -followed by an exegesis. The intention with the creative component was to work within parameters that would hopefully be appealing to the local film-making industry. Thus, the script is for a low-budget feature that is set in Perth and makes use of a character-driven narrative, The exegesis comprises a theoretical analysis of the 'Life After Man' screenplay, placing it within the context of an examination of multiple protagonist film structure, with particular reference to the development of character.
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Orfall, 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.
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McVeigh, Kathryn Margaret. "Work in progress : the writing of Short changed." Thesis, Queensland University of Technology, 1999.
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Work in Progress - the Writing of Short Changed is the account of the script writing process I developed and followed in the writing of the first draft of the Low Budget feature film, Short Changed. It is a process that was developed by a combination of guidance, mentorship, research, experiment and talking with and listening to other writers during the 1998 Pacific Film and Television Commission's New Writer's Workshop. Short Changed was written over a six month period. During the previous year I
had intermittently researched and pondered on the knowledge of an event that had invaded my mind. In the process of writing Short Changed, I have learnt much about the craft of screen writing and I have developed an approach which I
intend to use in the writing of future screenplays. There are many ways to write a screenplay. My goal as a writer was to find the way that worked for me; to find the process that created a screenplay that embodied the hallmarks of both creativity and craft. As an accomplished writer of expository prose, I was searching for the key that would unlock the door to the world of writing creative fiction.
This document is a reflective account of my creative writing process. It includes the exploration and actualization of the complex and intricate workings of the
mind.
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Winters, 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.
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Ritchie, 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.
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This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.
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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.
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Natalenko, Rie. "Exegesis to support Heloise." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060807.152947/index.html.
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Defty, Tracey L. "Square pegs." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/855.
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This thesis comprises two parts: a creative component consisting of a first-draft script for a feature film, followed by an exegesis. The intention with the creative component was to work within the parameters of a low budget feature that is set in Perth and that makes use of a multi-strand narrative structure and extensive character development. The exegesis comprises a theoretical analysis of the creative component ‘Square Pegs’, and placing it within the context of an examination of feature film script development, in particularly multi-strand (or multi-plot) narrative structure, character development, individual storyline development and structure.
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Dugas, 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.
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Cowley, 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/.
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This thesis examines how the concept of an auteur (author of a film) has developed within contemporary Hollywood and popular culture. Building on concepts from Timothy Corrigan, this thesis adapts the ideas of the author and the commercial auteur to examine how director Christopher Nolan's name, and film work, has become branded as "realist" by the Hollywood film industry and by Nolan's consistent self-promotion. Through recurring signatures of "realism," such as, cinematic realism (immersive filmic techniques), technical realism (practical effects and actual locations), subjective realism (spectator access to a character's point of view), psychological realism (relatable motivations) and scientific realism (factual science), Nolan's work has become a recognizable and commoditized brand. Like many modern-day auteurs, Nolan himself has been used as a commodity to generate interest to his working methods and to appeal audiences to his studio films. Analyzing each of Christopher Nolan's films along with the industrial and cultural factors surrounding them, a method for understanding contemporary auteurism in Hollywood is presented. Through a consideration of extra-textual components, including promotional featurette's and journalistic interviews with Nolan, as well as his film crew, this thesis will explore how Nolan might be considered a template for a future of auteur branding.
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Rossetti, 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.
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Beaulieu, 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.
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Human, 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.
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Gustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
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This thesis takes a historical approach to its subject and focuses on Swedish cinema of the 1940s and 1950s. The thesis argues that Swedish cinema experienced a renaissance in the 1940s, lasting approximately from 1940 to 1953. It further suggests that one of the most important filmmakers in this renaissance was Hasse Ekman. By focussing upon Ekman and this renaissance, a much-needed contextualisation of Ingmar Bergman will be achieved. Ingmar Bergman is one of the most well-known and well-researched filmmakers of all time, but there are still gaps in the material surrounding him, and one such gap concerns his cinematic origins. Bergman was a part of the 1940s renaissance, during which Bergman worked with, and was influenced by, other filmmakers and in particular Ekman. The thesis is divided into three parts. The first part introduces the relevant literature and discusses ideas of authorship and national cinema. It also provides a historic overview of Swedish society and cinema during the 1940s and 1950s, providing the context needed to better understand the films of Ekman, and Bergman too. This part also looks at the 1930s to illustrate what came before this renaissance, and how the films of the 1940s differed from what had gone before. The second part is a chronological overview of Ekman's career from the late-1930s to his move to Spain in 1964. The last part is a discussion of Ekman's relation to Swedish society and his view of the world, based on close textual readings of his films. The aim of the thesis is to present, for the first time, a coherent and extensive overview of Ekman's career and body of work, while also situating it in the specific context in which it emerged, thereby shedding new light on an important, though neglected, episode in cinema history.
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Ferenz, Volker. "Don't believe his lies : the unreliable narrator in contemporary American cinema /." Trier : Wiss. Verl. Trier, 2008. http://d-nb.info/990884805/04.
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Roberts, Daniel C. "Saturday Nights Alone." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd892.pdf.
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Saunders, 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.
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The aim of this thesis is to make practical use of film
narrative studies and script writing theory in order to
research a method of constructing my own film screenplay.
This thesis is divided into two major sections, the
Process (Section I) and the Product (Section II) . The
Process examines historical models of narrative,
identifying characteristics of the western narrative
construct, and how they relate to film storytelling and
contemporary screenwriting. The theoretical underpinnings
draw upon the branch of film theory known as narratology.
The work undertaken in this section is about understanding
the field of screenwriting and what repertoire of
narrative devices, strategies and tools are available to
an emerging writer.
The Product (Section II) is a primary writing project,
comprising a treatment for a feature film screenplay. The
aim is to test principles of narrative construction and
the applicability of certain features of screenplay models
discussed in the Process section. The Product is about
the process of making decisions and choices from a range
of structural possibilities and crafting an original
approach and story. A reflection on the creative writing
processes concludes the section.
The intention of the Product section is not only to
produce a successful screenplay treatment but a text
suitable for a funding or corrnnissioning program, such as
the Pacific Film and Television Corrnnission's New Writers'
Scheme, the Australian Film Corrnnission's New
Screenwriters' Scheme, and the respective Drama Programs
of SBS Independent and ABC-TV. The script treatment
reflects a production budget of under one million dollars
and therefore, is eligible for the AFC's low budget film
development fund, Million Dollar Movies Fund, and the
PFTC'S LOW Budget Feature Film Fund.
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Goshorn, 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.
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The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels - aesthetic, narrative, technical, and industrial - while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience.ID: 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
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Grist, Leighton. "Authorship and context : the films of Martin Scorsese 1963-1977." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/2952/.
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This thesis centres upon variously detailed analyses of the early fictional films of director Martin Scorsese, ranging from the student short film What's a Nice Girl Like You Doing in a Place Like This? (1963) to the big-budget production New York, New York (1977). Through this, the thesis seeks to enact an intervention in the debate surrounding film authorship. Informed by a broadly poststructuralist position, the thesis recasts authorship as a discourse that exists in a particular, mutually inflecting relation with a text's other constituting elements. While the analysis of specific films traces the stylistic and thematic consistencies that inform Scorsese's authorial discourse, the latter's specific articulations are read in relation to the texts' institutional, industrial, and historical determination. That the texts studied were made within a variety of filmmaking practices - student production, exploitation cinema, independent filmmaking, major studio finance and distribution - enables consideration of authorship within different contexts of production. Crossing this, the thesis charts the genesis, institutional appropriation, and consequent rejection of New Hollywood Cinema, a phase of filmmaking of which Scorsese's early work is paradigmatic. The thesis is organized on a chapter per film or production situation basis. The introduction outlines its theoretical underpinning. The conclusion briefly contextualizes the films which Scorsese has directed since New York, New York. The thesis concludes that authorial analysis remains a valid critical practice, but also one which needs to be located in relation to other determining factors.
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Macià, Viles Jaume. "Models estructurals per a l’escriptura de guions de curtmetratge." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283806.
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"Models estructurals per a l’escriptura de guions de curtmetratge" té com a primer objectiu establir una classificació, partint de l’observació d’exemples, de diversos models estructurals de guió de curtmetratge que eviten l’aparició de les sensacions d’incompletud o insubstancialitat, dues sensacions que hi ha el risc que apareguin al final d’un relat breu i que deixen insatisfet l’espectador. Prenent com a base dos tipus de classificació dels arguments de llargmetratge (en funció del seu mode de construcció i en funció del seu centre d’interès), s’arriba a la conclusió que alguns dels models estructurals que utilitza el llargmetratge són idonis per al curtmetratge, que uns altres no ho són, i que uns tercers ho són però després d’introduir algunes modificacions. A banda, s’estableixen alguns models estructurals que són pròpies del curtmetratge. En segon lloc, la tesi descriu una proposta didàctica per a un taller d’escriptura de guions de curtmetratge que pren com a base els models estructurals satisfactoris prèviament establerts. En aquesta proposta didàctica, els alumnes reben com a instrucció inicial la necessitat d’escriure un argument de curtmetratge que s’ajusti a una de les pautes estructurals establertes en l’apartat anterior. És una proposta pensada per a una assigntura amb grups reduïts d’alumnes i que adopta el format de taller d’escriptura. En tercer lloc, es deixa constància de l’aplicació de l’esmentada proposta didàctica en el marc d’una assignatura semestral impartida per l’autor de la tesi a l’ESCAC (Escola Superior de Cinema i Audiovisuals de Catalunya), centre adscrit a la UB, durant dos cursos acadèmics consecutius (2011-12 i 2012-13), per a alumnes de tercer curs, de la menció de guió, del Grau en Cinema i Mitjans Audiovisuals. A través d’una investigació basada en l’observació participant, la tesi mostra el resultat de l’aplicació de la proposta didàctica. S’aporta una selecció dels guions escrits pels alumnes, dels comentaris i suggerències de millora de la resta d’alumnes i del professor, així com les successives versions de l’argument que neixen d’aquests comentaris i suggerències. En quart i darrer lloc, s’avalua el resultat del treball realitzat pels estudiants i de la progressió del seu aprenentatge durant el procés."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.
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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.
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Movie innovation is a conversation between screenwriters and producers in our mixed economy – a concept of innovation supported by Richard Rorty and Aristole's Poetics. During innovation conversations, inspired writers describe fresh movie actions to empathetic producers. Some inspired actions may confuse. Writers and producers use strategies to inquire about confusing actions. This Australian study redescribes 25 writer-producer strategies in the one place for the first time. It adds a new strategy. And, with more evidence than the current literature, it investigates writer inspiration, which drives film innovation. It reports inspiration in pioneering, verifiable detail.
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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.
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Cruz, Pereira Irina. "Heroínas del feminismo popular: autoría de mujeres en Hollywood." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673901.
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En 1990, Marjorie Ferguson expone su argumento sobre la «falacia del feminismo», negando que exista una correlación entre la creciente consciencia social feminista, la autoridad de las profesionales en los medios de comunicación y la representación de las mujeres en la cultura popular. La presente tesis se plantea si su argumento sigue vigente treinta años después, en un contexto marcado por la influencia del neoliberalismo sobre el movimiento feminista. Para responder estas preguntas, la tesis ofrece una reflexión en torno a las heroínas del cine hollywoodense que, de la mano de mujeres en posiciones autoriales determinantes, habitan espacios tradicionalmente percibidos como masculinos. El trabajo parte de la observación de que, en la segunda mitad de la década de 2010, personajes femeninos han ocupado roles centrales en sagas y franquicias emblemáticas de la industria hollywoodense que hasta entonces habían estado protagonizadas exclusivamente por hombres. Así, este estudio se centra en tres de estas protagonistas con el objetivo de analizar la representación de las heroínas en distintos marcos narrativos y estéticos: la protagonista de Wonder Woman (2017), Furiosa en Mad Max: Fury Road (2015) y Rey en la trilogía de secuelas de Star Wars: The Force Awakens (2015), The Last Jedi (2017) y The Rise of Skywalker (2019). En los tres casos se dan instancias autoriales de mujeres que desempeñan roles tradicionalmente asumidos por la industria de Hollywood como masculinos: la dirección (Patty Jenkins en Wonder Woman), el montaje (Margaret Sixel en Fury Road) y la producción (Kathleen Kennedy en Star Wars).
La tesis explora las múltiples representaciones populares del feminismo, así como la reacción antifeminista y la misoginia popular, para comprender el contexto en el que las películas del corpus han sido producidas y su recepción crítica —siendo consideradas por parte de la crítica como obras feministas y, al mismo tiempo, repudiadas por las voces antifeministas. A partir del trabajo de Janet Staiger (2003) sobre la autoría fílmica como acto performativo a través del que un sujeto se concibe a sí misma como autora y se posiciona en una estructura discursiva que la reconoce como tal, la tesis propone una concepción de la autoría que considera Hollywood un mundo figurado en el que los individuos son situados en jerarquías de poder, por lo que su agentividad es siempre parcial y posicionada, siendo el género un eje clave en dicho posicionamiento.
El primer estudio se centra en la película Wonder Woman (2017) y en la autoría de su directora, Patty Jenkins. El trabajo explora la histórica relación entre la heroína y el feminismo, y las condiciones específicas que permitieron su adaptación al cine en 2017. Se analiza la dirección de Patty Jenkins y la forma en la que negocia su posición como autora en una franquicia hasta entonces dominada por hombres tanto en la pantalla como en las posiciones autoriales. El estudio de Mad Max: Fury Road (2015) se centra en la narrativa distópica como espacio de resistencia feminista y elabora un análisis de la edición de Fury Road señalando que el estilo de la editora Margaret Sixel difiere de la mirada convencional masculina asociada con el género de acción. Por último, la tesis propone una reflexión en torno a la trilogía de secuelas de la franquicia Star Wars, en la que se introduce a una mujer, Rey, como protagonista. El análisis demuestra que la trilogía transgrede las convenciones narrativas de la propia saga al elegir a Rey como receptora de la «fuerza» y se centra en el caso de Kathleen Kennedy, productora de la franquicia desde 2012 y considerada la responsable de haber introducido en Star Wars una mayor diversidad de personajes y de protagonistas femeninas.In 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.
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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.
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This dissertation explores screenwriting as a writing genre. Accompanying the dissertation, in a separate binding, is my feature film screenplay, Jungles of Sandakan, a spec script, written with the speculation of selling for production. The screenplay represents an experience of writing. From the writer’s position, the dissertation articulates a feminine voice, reflective of the writer who experiences the writing of the feature film script, rather than being an exposé on gender, or feminist-specific issues regarding the experience. As such, it is one kind of research. Nonetheless, the research attempts to explore the complexities of writing in relation to the problems that exist in the film world that prevent, or annihilate, and yet enable and require, the very experience of writing. Screenplays are the lifeblood of the picture business, writes Paul Lazarus, in Working In Film; The Marketplace in the ‘90s. Lazarus, a film producer and observer of the American film industry, paints the script as the endemic life force of the film business. Without the script, it is implied, there is no film production. This gives an impression of privilege in relation to the script, and writing. In the grand scheme of things in the picture business though, this is not the case, as anxieties about the script often render writing inconsequential in the context of film production, thus reducing the script’s privilege and placing its significance in uncertain terrain, quite often to the point of oblivion. The writer is often voiceless, and often expected, or required, by the production hierarchy, to remain impartial to her work, or relinquish ownership of her work altogether. For an industry that seemingly depends initially on writing for its own existence, the anxieties displayed towards the script, even though it is merely the blueprint of a film production, as well as the writer, appear very problematic The fiction/drama screenplay, as a storytelling device, has fundamental significance pertaining to history, national identity, issues of gender, sexuality, race relations, social, cultural and political dynamics, views and representations of self and of other(s), ethnicity, religion, multiculturalism and so on, a plethora of issues that inform the writing, the script, as represented by characters, and story.Doctor of Creative Arts
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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 textAbstract:
Thesis (M.F.A.)--York University, 2007. Graduate Programme in Fine Arts.Includes: 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
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Smith, Ruan. "Power dynamics in the construction of film dialogue." 2012. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000473.
Full textAbstract:
M.Tech. Drama. Tshwane University of TechnologyHow 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.
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Davison, 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 text
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Funk, Grace H. "Screenwriting : an experience of a writing genre." Thesis, 2004. http://handle.uws.edu.au:8081/1959.7/28254.
Full textAbstract:
This dissertation explores screenwriting as a writing genre. Accompanying the dissertation, in a separate binding, is my feature film screenplay, Jungles of Sandakan, a spec script, written with the speculation of selling for production. The screenplay represents an experience of writing. From the writer’s position, the dissertation articulates a feminine voice, reflective of the writer who experiences the writing of the feature film script, rather than being an exposé on gender, or feminist-specific issues regarding the experience. As such, it is one kind of research. Nonetheless, the research attempts to explore the complexities of writing in relation to the problems that exist in the film world that prevent, or annihilate, and yet enable and require, the very experience of writing. Screenplays are the lifeblood of the picture business, writes Paul Lazarus, in Working In Film; The Marketplace in the ‘90s. Lazarus, a film producer and observer of the American film industry, paints the script as the endemic life force of the film business. Without the script, it is implied, there is no film production. This gives an impression of privilege in relation to the script, and writing. In the grand scheme of things in the picture business though, this is not the case, as anxieties about the script often render writing inconsequential in the context of film production, thus reducing the script’s privilege and placing its significance in uncertain terrain, quite often to the point of oblivion. The writer is often voiceless, and often expected, or required, by the production hierarchy, to remain impartial to her work, or relinquish ownership of her work altogether. For an industry that seemingly depends initially on writing for its own existence, the anxieties displayed towards the script, even though it is merely the blueprint of a film production, as well as the writer, appear very problematic The fiction/drama screenplay, as a storytelling device, has fundamental significance pertaining to history, national identity, issues of gender, sexuality, race relations, social, cultural and political dynamics, views and representations of self and of other(s), ethnicity, religion, multiculturalism and so on, a plethora of issues that inform the writing, the script, as represented by characters, and story.
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Edwards, Kyle D. "Corporate fictions: film adaptation and authorship in the classical Hollywood era." Thesis, 2006. http://hdl.handle.net/2152/3764.
Full text
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Uys, 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 textAbstract:
Thesis (DTech. degree in Drama) -- Tshwane University of technology, 2011.The 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.
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"「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 textAbstract:
作為本論文的研究對象，許鞍華在電影界成就無容置疑。惟有關她的學術研究和著作，在數量上寥可所涉攝範圍亦未見全面；後現代語境對主體的抗拒下，許鞍華的電影作者(auteur)往在研究中遭忽略或迴避，抺殺她作為女性電影者的可能 。這反映出女性導演在主流電影建制和論述中長期被邊緣化的現象。本論文目標，是冀在填補「許鞍華研究」上的空白， 並推進女性電影作者之討論。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
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Chandler, Wendy. "Evocative collaboration : collaborative animated documentary in Timor-Leste." Thesis, 2018. http://hdl.handle.net/1959.7/uws:51050.
Full textAbstract:
This thesis consists of two parts: the creative work of two animated documentaries and an exegesis. The films Jose’s Story and Natercia’s Story explore the personal experiences of two East Timorese individuals during the Indonesian occupation and the fight for independence. The work documents the themes associated with the trauma of poverty, war, and eventual diaspora within a historical context. The exegesis explores the broadening definitions of ‘documentary’ and ‘animation’ to include an investigation of how the use of animation in non-fiction films challenges convention and subsequently adds layers of meaning. It argues that personal narratives dependent on memory, especially traumatic memories, are particularly well suited to the medium of animation. The research advances the discussion of animated documentary by suggesting that Jose’s Story and Natercia’s story combine multiple elements of modes and typologies proposed by previous scholars of documentary and animation to form a new concept of ‘evocative collaboration’. The thesis argues that ‘evocative collaboration’ allows for a more ethical production framework in relation to authenticity, ownership and authorship when depicting disadvantaged individuals and communities.
The two animated documentaries can be viewed at –
Jose’s Story - https://vimeo.com/197998746 ;
Natercia’s Story - https://vimeo.com/280117412 (password: Natercia)
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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 textAbstract:
Pier Paolo Pasolini is one of the most important but also most misunderstood Italian artists and intellectuals of last century, a cultural and artistic myth often understood and used in excessively sectorial or expedient ways. This dissertation defines and explores Pasolini's carefully constructed authorial apparatus, in the sense attributed to this term by Michael Foucault. It argues that Pasolini's authorial apparatus is a labyrinthine subjective construction, which functions within the gigantic interdisciplinary macro-structure of Pasolini's body of work, demanding from its audience a comprehensive reading. Pasolini's authorial apparatus is deconstructed in this dissertation while following the making of Pasolini's incredibly complex body of work, which, crossing medium and disciplinary boundaries, includes poetry, narrative, film, but also theater, essays and even painting.
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Willis, 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 textAbstract:
In the spring of 2010, I worked with four street youths from Durban to create a short
fictional film based on their lives. There were two main components to this project:
first, a series of drama workshops and second, the film-making process. The filmmaking
process consisted of the participants improvising scenes based on their street
lives that I captured on film. This project engaged with Theatre for Development and
Participatory Video practices.
The young man who initiated this project did so because he wanted to change people’s
perceptions of youths who lived on the streets. Additionally, he wanted to change his
own perceptions of himself.
The film provided baseline data regarding how the participants viewed themselves and
their lives on the streets. Analysis of interviews conducted after the completion of the
project, when compared with the baseline data, demonstrated social impacts that
occurred as a result of making the film. This data was coded and interpreted using
François Matarasso’s (1997) positive criteria for the social impact of participating in
arts projects as well as corresponding negative categories that I generated.
The film, once coded, demonstrated that the participants felt negatively about their
lives on the streets, with many examples emerging from the categories Lack of Social
Cohesion and Lack of Agency. In contrast, the interviews revealed positive social
impacts across all categories, but especially in relation to Personal Development, Local
Image and Identity, and Community Empowerment and Self-Determination (Matarasso
1997). The participants reported that they felt differently about themselves as a result
of the project. They also said that there had been a change in the way some people
treated them.
Findings revealed that the film project resulted in positive social impacts on the street
youth participants. As a result of the film, they engaged in critical thinking and
reflection related to Paulo Freire’s (1970) notion of praxis. They also wished for
changes in their lives and in some cases enacted change. It was significant that social
impacts and change extended to youths in difficult circumstances.
In conclusion, this research proved that participating in the film project broadened and
enriched the lives of the participants. Problems arose in terms of sustainability.
Further projects and research are needed to establish the possible impacts from longterm
and sustainable arts projects on youths from the streets.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
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Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
Full textAbstract:
Text in English, with abstracts and keywords in English and SesothoThis 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)