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Dissertations / Theses on the topic 'Motion pictures - Aesthetics'
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Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.
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Udden, James. "Hou Hsiao-hsien and the aesthetics of historical experience." access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.
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Cossar, Harper. "Snakes and funerals aesthetics and American widescreen films /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03162007-175907/.
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Thesis (Ph. D.)--Georgia State University, 2006.Title from file title page. Greg M. Smith, committee chair; Matthew Bernstein, Kathy Fuller-Seeley, Jack Boozer, Angelo Restivo, committee members. Electronic text (349 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed June 4, 2007. Includes bibliographical references (p. 342-348).
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明奇英 and Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.
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Williams, Tami Michelle. "Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Rassos, Effie School of Media Film & Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.
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This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /." online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.
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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.
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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
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Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.
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PhDThe influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.
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Ingrassia, Peter Matthew. "The split-screen aesthetic connecting meaning between fragmented frames /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/ingrassia/IngrassiaP0809.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Dennis Aig. Urban Rats is a DVD accompanying the thesis. Includes bibliographical references (leaves 44-47).
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Yacavone, Peter. "The aesthetics of negativity : the cinema of Suzuki Seijun." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/64232/.
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This thesis explores the films of post-war Japanese director Suzuki Seijun (1923-), who has yet to be the subject of an extended study in the English language. The thesis aims to provide a close textual analysis of several of Suzuki’s films, with an emphasis on his crime and gangster films of the 1960s. At the same time, it aims to discuss and determine the significance of these films, and the consistent stylistic features that emerge from them, in multiple historical, ideological, and theoretical contexts. For example, while the thesis emphasises the importance of Suzuki’s films to formal and ideological developments in Japanese cinema from 1950s to the present day, it also claims significance to these films in reference to major issues in contemporary film theory, such as modernity, genre, masculinity, identification, reflexivity, violence, spectatorship, and masochism. The thesis begins by claiming that a ‘differential aesthetic’ is evident in Suzuki’s films, defined by a variety of textual features such as editing discontinuities, non-diegetic colours, graphics, and theatrical effects, repetitive structures of narration, and inter-textual references. Such features were highly unconventional, and in many cases deemed unacceptable, in the context of Japanese studio genre production in the 1960s. The rest of the thesis proposes to fully explore this ‘Suzuki difference’ in a variety of historical and theoretical contexts. I have chosen the concept of negativity and the ‘negative aesthetic’ to unify the thesis as a whole, arguing that the Suzuki aesthetic is not merely differential, but attempts a negation of formal and ideological conventions of studio filmmaking for the purpose of a wide-ranging, satirical critique of post-war Japanese culture. In several respects, the negative aesthetic links Suzuki to global tendencies in the transformation of cinematic form and narration in the 1960s, and his films can contribute to an understanding of these transitions.
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Çaglayan, Orhan Emre. "Screening boredom : the history and aesthetics of slow cinema." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/43155/.
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This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. My original contribution to knowledge is, therefore, a comprehensive account of a global current of cultural practice that offers a radical and at times paradoxical reconsideration of our emotional attachment and intellectual engagement with moving images. The introduction chapter begins with a discussion of the Slow Cinema debate and then establishes the aims of the thesis, its theoretical framework and elaborates on the adopted methodologies, namely formal analysis and aesthetic historiography. Chapter 2 examines Béla Tarr in light of the evolution of the long take and attributes Tarr’s use of this aesthetic device as a nostalgic revision of modernist art cinema. Chapter 3 explores the films of Tsai Ming-liang, which embrace incongruous aesthetic features, envision an absurdist view of life, create humour through duration and are situated within the minimalist trends of the international film festival circuit. Chapter 4 focuses on Nuri Bilge Ceylan, whose films emerge from the aftermath of the collapse of a domestic film industry and intervene into its historical heritage by adopting fundamental features of boredom as well as transforming its idleness into an aesthetically rewarding experience. The conclusion chapter incorporates the case studies by stressing the role of Slow Cinema within the complex negotiations taking place between indigenous filmmaking practices and the demands of global art cinema audiences as well as the circulation of art films through networks of film festivals and their respective funding bodies.
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Taylor, James. "Hollywood superheroes : the aesthetics of comic book to film adaptation." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93641/.
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This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the development of Hollywood’s blockbuster filmmaking paradigm. My approach combines models and concepts from studies of adaptation that employ poststructuralist theory. This theoretical framework explains transformations that content may undergo as it is adapted between the different forms available to comics and film, and enables examination of dialogues occurring in the vast networks of intertexts in which superhero blockbusters are situated. After my review of literature establishes the thesis’ theoretical underpinnings, my chapters undertake close textual analysis of three distinct case studies. The selection of case studies allows me to continue to develop my approach by examining different superhero archetypes, alongside significant contexts, trends and technologies that impact Hollywood blockbusters. Chapter one looks at the first superhero blockbuster, Superman: The Movie (1978). I begin by outlining, and exploring relations between, the range of Superman texts released prior to the film. Doing so reveals the qualities of the intertextual networks that comprise a superhero franchise. I then analyse the strategies that Superman: The Movie deploys to adapt and enter the network of Superman texts, before situating the film in the context of the emerging blockbuster paradigm in 1970s Hollywood. Chapters two and three analyse films produced in the twenty-first century, as superhero blockbusters gained a central position in Hollywood production. Chapter two evaluates the aesthetics of the Spider-Man trilogy (2002, 2004 and 2007) in relation to two contexts that are often considered to have facilitated the superhero blockbuster’s twenty-first century success: the increasing use and sophistication of digital filmmaking technologies in Hollywood, and the contemporary sociopolitical climate. Looking at the representation of bodies and space elucidates the ways in which the films incorporate digital filmmaking technologies into their adaptive practices and offer a sociopolitical commentary. Chapter three examines the strategies that films produced by Marvel Studios, with particular focus on team film The Avengers (2012), deploy to adapt the model of seriality that superhero comic books use to interconnect multiple series in a shared diegesis. The analysis focuses on ways in which The Avengers uses bodies and space to compress the expansive diegetic universe into a single film, and interrogates how these strategies shape the film’s sociopolitical meanings. My case studies demonstrate that the approach developed in this thesis illuminates the complex and equivocal meanings that the adaptive practices of superhero blockbusters generate.
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McDiarmid, Heather E. (Heather Elizabeth). "The aesthetics of death, youth, and the road : the violent road film in popular culture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24093.
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The "roadkill" films are part of a sub-genre of the more popular road film genre. Recently there has been a large number of extremely violent films featuring couples on the run. The reason behind the emergence and popularity of the "roadkill" genre can be understood through an aesthetic analysis. Chapter one examines the aesthetics and affective characteristics of the extreme violence within this sub-genre of film. This chapter refers to the works of Leo Bersani and Ulysse Dutoit, as well as Rene Girard. Chapter two explores the postmodern aesthetic of the roadside iconography by using authors such as Jean Baudrillard and Robert Venturi. The third chapter considers the aesthetics of contemporary youth as well as the soundtracks of four of the main "roadkill" films: Kalifornia, Love and a.45, Natural Born Killers, and True Romance. By considering the aesthetic elements of the "roadkill" film, one can understand the timely emergence of this genre.
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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.
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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
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Võ, Ch'o'ng-Đài Hồng. "An assemblage of fragments history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386844.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed February 11, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 155-168).
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Barrowman, Kyle. "Screen of vision : Ayn Rand and the possibilities of an objectivist aesthetics of cinema." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/119306/.
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This thesis is my attempt to establish a foundation, based on the philosophy of Objectivism as it was developed and elaborated by the Russian-American novelist and philosopher Ayn Rand, for the construction of an Objectivist aesthetics of cinema. After contextualizing and explicating Rand's philosophy, I make the case that, propaedeutic to the construction of a new aesthetics of cinema, it is incumbent upon film scholars to refute the irrational and immoral philosophical premises that have long been destroying the philosophy of art in general and the discipline of film studies in particular. Due to the troubling combination of its contemporaneity, extremism, and considerable influence, I focus initially on the philosophical school of poststructuralism - which I contend has, since the 1960s, served as the default philosophical foundation for film scholars - before ultimately moving on to refute what I call the Kantian aesthetic tradition, of which I demonstrate poststructuralism is a deadly symptom. Upon clearing away this philosophical debris, I set about arguing for the probative value of an Objectivist aesthetics of cinema by reigniting long-dormant debates about the validity of interpretation and the role of evaluation in film criticism. In so doing, I hope to demonstrate the value of an aesthetic orientation which I term aesthetic perfectionism, for it is my contention that perfectionism - which has recently emerged at the heart of key developments in film studies through the work of Stanley Cavell, which I argue motivated Rand's philosophical enterprise, and which I argue should motivate the philosophical enterprises of all scholars who strive to do justice to all that the cinema has to offer - is the key to unlocking an Aesthetics of Life capable of transforming the discipline of film studies.
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Verano, Frank. "D.A. Pennebaker and the politics and aesthetics of mature-period direct cinema." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65757/.
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In this thesis, I offer a reappraisal of direct cinema through a study of documentarian D.A. Pennebaker's mature-period direct cinema. This is an unexamined period in Pennebaker's career that offers new perspectives on an often-maligned form of documentary. The period under study ranges from 1968 to 1970 and encompasses a range of films, commercials, abandoned projects and personal works. I focus on three films: Eat the Document, Sweet Toronto and One P.M. By shifting the critical focus away from the early and classical period of direct cinema, as well as its ‘canonical' films, I ask: How does direct cinema engage with the world in its later stages? What can be understood about direct cinema by examining works that do not circulate in ‘the canon,' and how does this analysis change our perception of it? Two further questions guide my study of Pennebaker: What are the aesthetic properties and ideological preoccupations that characterise Pennebaker's mature period? What is the political address of this set of films and how does that reposition the politics of direct cinema as a whole? Methodologically, I employ a close textual analysis of the films and an historical analysis of the period, conduct personal interviews with Pennebaker, and engage with intellectual debates within documentary studies to answer these questions. My study builds upon recent trends in direct cinema scholarship, which have opened up new critical horizons by returning the critical focus to the film texts themselves and the cultural and social contexts in which they were produced. I contribute knowledge to documentary studies by focusing critical attention on a neglected period in a key documentarian's career. Additionally, I perform a textual analysis of the period's films that focuses on the materiality of sync sound – the crucial, but largely neglected, aesthetic characteristic of direct cinema – as a means of investigating my ideological and political line of questioning. I also develop two key concepts: the performative documentary, which builds upon existing definitions by Waugh ([1990] 2011), Nichols (1994) and Bruzzi (2006; 2013) and furthers the concept through an application of Brecht's alienation effect; and ‘kinetic progressions,' which, I argue, is Pennebaker's cinematic process of signification that exploits classical direct cinema's emphasis on present-ness and found symbolism to further formally evolve the language of direct cinema in a way that fulfils its potentiality for political discourse.
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Seidel, Sebastian Martin. "A portfolio of compositions and an investigation into electroacoustic compositional techniques and aesthetics in cinematic film." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/98.
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The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating sounds) come directly from pioneers of electroacoustic music. Electroacoustic techniques and aesthetics play an important role in the history of sound film in making fundamental contributions to production processes, the relation between directors and sound makers, and film sound theory. On an aesthetic level, electroacoustic music in film has reformed the role of sound in film: a film score can contain 'noise', while speech and sound effects can actually serve as music. The findings also assert that electroacoustic techniques and aesthetics can be found in cinematic film from the beginning of sound film in the late 1920s. Once established, techniques have largely remained the same, regardless of the carrier media and their transformation from analog to digital: modern, digital techniques are refinements of their analog predecessors. Aesthetics have developed along with techniques, albeit much slower; their potential and exploration is far from being exhausted. The use of electroacoustic content for a particular element of film sound is not unusual and often genre-specific (for example in science fiction and thriller). However fully electroacoustic scores are rare. A portfolio of selected original compositions by the author complements this study. Acoustic and electroacoustic pieces for film and multimedia highlight different aesthetics, techniques and practices of film sound and film music.
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Wright, Neelam Sidhar. "Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2360/.
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This thesis uses postmodern theory to explore aesthetic shifts in post-millennial Bollywood cinema, with a particular focus on films produced by the Bombay film industry over the past nine years (2000-2009) and the recent boom of Hindi cross-cultural and self-remakes. My research investigates reasons behind the lack of appeal of Bollywood films in the West (particularly in their contemporary form), revealing how our understanding and appreciation of them is restricted or misinformed by a long history of censure from critics, scholars, educators and ambassadors of the Indian cinema. Through my analysis of the function and effects of cultural appropriation and postmodern traits in several recent popular Indian films, I expose Bollywood's unique film language in order to raise our appreciation of this cinema and suggest ways in which it can be better incorporated into future film studies courses. My analysis is based on a study of over a hundred contemporary Bollywood remakes and includes close textual analysis and case studies of a wide variety of popular Bollywood films, including: Dil Chahta Hai (2001), Abhay (2001), Kaante (2002), Devdas (2002), Koi…Mil Gaya (2003), Sarkar (2005), Krrish (2006) and Om Shanti Om (2007). In my conclusion, I offer a redefinition of contemporary Bollywood and I consider postmodernism's usefulness as a tool for teaching Indian cinema and its value as an international cultural phenomenon.
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Dong, Qian Kun Grace. "Representing the shoah :contrastive cinematic narratives." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953471.
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Perugini, Sas̆a. "The aesthetics of Fellini's art seen through its ties with popular entertainment /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.
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Thesis (Ph.D.)--Tufts University, 2001.Submitted to the Dept. of Drama. Advisers: Laurence Senelick; Jeanne Dillon. Includes bibliographical references (leaves 228-243). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Warwaruk, Eric D. "The fearful touch of death : the philosophy of death and pain in aesthetics and media." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99398.
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The central question this thesis is concerned with is the question of death: how do we make sense of it? Through philosophical examination, we discover we cannot make sense of death. Death is nonsensical because it cognitively and physically cannot be controlled via a binary context; death becomes something we fear. This fear we feel is, in turn, immune to true catharsis. To control the fear of death to some extent, we suture the fear we experience from physical punishment with our metaphysical fear of death. Thus, the meaning and experience of death become entangled in the binary of punishment and non-punishment. We tentatively argue that this suture is expressed in media texts, such as film; and further posit hypothetically that media texts such as film have the function of either alleviating, or controlling, the fear of death, both in production and reception.
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Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
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This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
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Roesch, Matthew. "Les Sensations fortes: The phenomenological aesthetics of the French action film." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499821478202158.
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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.
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This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.
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Slugan, Mario. "Montage aesthetics : narrative, adaptation and urban modernity in Alfred Döblin's Berlin Alexanderplatz." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/67648/.
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Alfred Döblin’s famous 1929 novel Berlin Alexanderplatz has often been discussed in terms of the appropriation of film poetics by the medium of literature and is said to abound with examples of literary montage. In most post-war discussions of literary montage in Berlin Alexanderplatz, however, the device is regularly understood as an umbrella term for anything of stylistic interest. Deploying 1920s and 1930s literary and film criticism I demonstrate that this regularly leads to anachronisms and terminological over-inflation. I thus offer a historically informed definition of literary montage in precise narratological, stylistic and experiential categories. Montage rests on the identification of intradiegetically unmotivated ready-mades and the perceived experiential similarities between the novel, Soviet montage films, and Dadaist photomontage. The lack of motivation affords the experience of disruption which, I demonstrate, has within the Benjaminian “modernity thesis” too often been extrapolated to characterize all film editing. My analysis shows that contemporary critics regularly discriminated between different types of editing on at least three experiential axes – tempo and dynamism, confusion, and disruption. My proposed definition of literary montage thus also allows me to analyse the novel in terms of the key narratological novelties that literary montage introduces: the global proliferation of heterodiegetic zero-level narrators accompanied with the local elimination of zerolevel narrators altogether. In other words, Döblin accomplishes in literary fiction what holds for film fiction in general – the absence of a narrator held to be fictionally in control of the whole of the text. Conversely, through the use of intertitles and the particular type of voice-over interjections, Fassbinder’s adaptation endeavours to emulate the reciprocal commonplace of literary fiction – the narrator’s continuous presence. Paired with Fassbinder’s film, Jutzi’s adaptation demonstrates how visual and sound film montage both differ from literary montage. Whereas literary montage hinges on disruptive stylistic shifts, film montage rests on disruptive spatio-temporal dislocation.
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Weightman, Elise. "The mirror has many faces : an exploration of women's aesthetics in contemporary mainstream Australia." Thesis, Queensland University of Technology, 1999.
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This thesis investigates the concept of "women's aesthetics", as distinct from "feminine" or "feminist" aesthetics, asserting that an original and liberated women's film practice and spectatorship may be realised, in the late 1990s, by reinterpreting women's aesthetics as diverse social and artistic processes. Aesthetic concepts such as pleasure, value, art and sensory experience are also
tested in this study to establish their relevance to feminist discourses on film, the wider culture and society. The study also argues that the aesthetics of Australian women filmmakers working in mainstream cinema may be
characterised by certain social and artistic processes. Further, it is suggested that these women achieve a more liberated and empowered artistic practice through their distinctive and personal explorations of particular aesthetic processes. Through case studies of films by Gillian Armstrong, Jane Campion, Samantha Lang and Rachel Perkins, certain characteristics of women's aesthetics are
identified, and their power and relevance for Australian women filmmakers are evaluated. While focusing its investigation on the concept of "women's aesthetics", this
study also interrogates recent and seminal feminist film theory as well as the historical development of Australian national cinema, establishing a context and justification for the exploration of women's aesthetics. The revised, inclusive concept of women's aesthetics is then applied to a
practical project, in which my own artistic processes are explored through the production of three short films. This practical component is reported and critiqued to establish the relevance of the concept of women's aesthetics to my
own film practice. Finally, this thesis concludes that the concept and practice of women's aesthetics as a negotiated process can be used to promote and develop a more relevant, political and productive relationship between women, mainstream cinema and the wider culture and society.
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Tweed, Hannah Catherine. "Aesthetics of autism? : contemporary representations of autism in literature and film." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/5996/.
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This thesis analyses representations of autism in twentieth and twenty-first century Anglo-American literature and film. It posits that, while many cultural portrayals of autism are more concerned with perpetuating the stereotypes surrounding the condition than with representing autistic experiences, there is evidence of a small but significant counter-current that is responding to and challenging more reductive representational modes. Each of my chapters examines prevailing narrative tropes that reinforce existing stereotypes of disability (narratives of overcoming, victimhood, dependency), which can be clearly evidenced in contemporary depictions of autism, from Barry Levinson’s Rain Man (1988) to Mark Haddon’s The Curious Incident of the Dog in the Night-Time (2003). In each case, a significant proportion of texts use the generic markers of autistic representation to question and subvert these more established literary and cinematic approaches. The twenty-first century authors discussed in this thesis repurpose and interrogate the prevailing stereotypes of autistic representations, and provide provocative considerations for the study of postmodernism, crime fiction, melodrama and autobiography. This critical crossover and the employment of genre tropes cross-examines the subversive potential of genre fiction and the significance of postmodernism as frameworks for examining depictions of autism. This thesis proposes that this crucial minority of texts embodies a writing forwards out of stereotypes of autistic representations, by both autistic and neurotypical authors, into new, twenty-first century representational patterns.
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Bruteig, Rune. "Who's afraid of the Fenris-wolf? : projections of a skin self and Nordic mythographic filmmaking (a feminist and psychoanalytical introspective)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23208.
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Chapter One of this thesis looks at psychoanalytical object relations theory dealing with early childhood, with an aim to outline the shift that has taken place within critical thinking on personal development--from an emphasis on oedipal relations to the auspicious re-exploration of pre-oedipal states. Here the main theme derives from the paradoxical nature of the human skin, whose fluid sensory and communicative qualities profoundly shape our psychological functioning, and thus ultimately our creation of (gendered) knowledge in all its forms.Chapter Two seeks to establish some of the possible socio-political implications of a recovered pre-oedipal sensibility, by way of situating the place of the personal within critical discourse--the cross-fertilization of critical theory and self-critical artistic discourses. Using the specific example of film, my central conceit consists in drawing a parallel between the skin and the filmic screen as both being simultaneously introjective and projective liminal membranes.
Chapter Three is a case study of sorts, one which traces the manifestations of a liminal subjectivity during a critical phase in the history of my native Nordic culture--the period of transition between pagan and Christian society. Its spirit is then shown to be alive and well within the ensemble films of Ingmar Bergman, whose work has come to stand as something of an archetype of the Nordic film form.
The second section, PRAXIS, appropriately provides this project's own creative component, a sketch of a film scenario that I hope to one day be able to liberate from the stasis of the written page and project into the uncertain spaces of a theater screen.
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Todd, Jeffrey M. "Einstein's film theory of montage and architecture." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21653.
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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.
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Reyes, Clara Irene. "Aesthetics: beauty and the sublime in the representation of violence an analysis of contemporary film and novel in Spain and Latin America /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1091660144.
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Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
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Hickey, James William. "Cinemaesthetics : a college-level curriculum in film and communication theory, aesthetics and ethics, critical thinking, reading, and articulation skills /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10992649.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1990.Typescript; issued also on microfilm. Sponsor: Carla Seal-Wanner. Dissertation Committee: Robert McClintock. Includes bibliographical references: (leaves 176-178).
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Junqueira, Joana Benetton 1973. "Cosmologias paulistanas do contato : uma etnografia." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281175.
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Orientador: Laymert Garcia dos SantosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-24T16:09:41Z (GMT). No. of bitstreams: 1 Junqueira_JoanaBenetton_D.pdf: 2135599 bytes, checksum: 7428703bffe17d9132b37cd9579f1844 (MD5) Previous issue date: 2013
Resumo: Este estudo é uma etnografia do contato. Os cineastas, produtores culturais, paulistanos localizados na zona centro-oeste da cidade, com as pessoas, lugares e histórias que escolhem abordar em seus filmes. Direcionado principalmente pela análise, observação e escuta sobre três filmes produzidos na cidade, como também por uma pesquisa de campo intensa e extensa da cena cultural de São Paulo, revela como os parâmetros técnicos envolvidos na produção audiovisual e na elaboração de uma narrativa mediam as relações que os moradores da zona centro-oeste estabelecem com outros mundos possíveis. Relações que são necessariamente mediadas pelas máquinas de sons e imagens com capacidade mimética de reprodução e revelação de um mundo. Que mundo potencializam em seus filmes? Como são afetados por esses mundos? O que fica da experiência do contato nos filmes que assistimos nas grandes telas da cidade? E o que transborda para o seu cotidiano na zona oeste paulistana? São algumas das perguntas que procuramos abordar
Abstract: This study is a ethnography of contact. Of filmmakers and cultural producers from São Paulo to the people, places and stories they address in their films. Guided by the analysis, the observation and the attention on three films produced in the city, as well as by an intensive and extensive fieldwork in São Paulo¿s cultural scene. Reveals how the technical parameters in audiovisual production mediates the relationships that the inhabitants of the centre-west region of the city establish with other possible worlds; relationships that are necessarily mediated by machines that register sounds and images with capacity to reproduce mimetically and to reveal worlds. What worlds they potentialise in their films? How are they affected by these worlds? What remains of the experience of contact with extreme alterity in the films we watch in the big screen? And what floods into their daily lives in São Paulo? Are a few of the questions we unravelled
Doutorado
Ciencias Sociais
Doutora em Ciências Sociais
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Douglas, John Anthony Art College of Fine Arts UNSW. "Aberations of self : manifestations in cinema histories." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.
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The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the directors intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the films meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.
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Jones, Daniel O. "The Soul That Thinks: Essays on Philosophy, Narrative and Symbol in the Cinema and Thought of Andrei Tarkovsky." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999476.
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李健文. ""電影虛擬" : 早期中國電影美學 (1931-1949) = "Filmic xuni" : early Chinese film aesthetics (1931-1949)." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/482.
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Vanmalderghem, Olivier. "L'unité du film: une systémique du récit cinématographique." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212516.
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Popa, Emilia Diana. "The specificity of the aesthetics of slowness in contemporary Romanian cinema." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14124.
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Contemporary Romanian cinema, particularly in its internationally successful instances, displays formal characteristics that have often led to its being seen in terms of the so-called Slow Cinema trend in contemporary cinema. This thesis proposes that there is something distinctive about slowness in contemporary Romanian films, similar to and yet different from Slow Cinema. Through a detailed analysis of films made by Cristi Puiu and Cristian Mungiu, two of the most representative contemporary Romanian filmmakers, Romanian slow films emerge as a less stringent form of slowness characterised by tension. This thesis first looks at some of the ways in which slowness can be developed in film - through the use of the long take and the trope of waiting along with the use of stillness and silence. Within this slowness an attitude of contemplation emerges, a characteristic that is key to Slow Cinema. Through close textual analysis of a number of films with a reputation for slowness, both classic and more recent examples, this thesis looks at how the techniques used to develop slowness in film allow for variation and how they can be used not only to create this attitude of contemplation but also to create tension. While this aspect has been less discussed with the more prevalent focus on Slow Cinema and its themes of contemplation, tension can be identified in a variety of films, both those considered part of Slow Cinema and those considered slow films. The distinctiveness of slowness in contemporary Romanian cinema is partly to do with its being rooted in Romanian culture. This study looks at Romanian cinematic and cultural inheritance, specifically at how slowness figures in this history. This thesis contributes to the existing body of research on contemporary Romanian cinema addressing its most salient characteristic, its sense of slowness, by placing it in relation to wider discussions about slowness and Slow Cinema as well as by linking its distinctiveness to wider cultural notions and practices of temporal organisation as well as the social history of the nation.
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羅樂. "摩登"閨秀": 早期中國電影的儒家道德美學與現代性= Modern guixiu: Confucian moral aesthetics and Chinese modernity in early Chinese." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/466.
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在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。 然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.
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Virvidaki, Aikaterini. "Testing coherence in narrative film." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:f8be5619-95b9-4810-a46b-2712707f80aa.
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This thesis aims to explore how narrative films that are marked by crucial obscurities and explanatory gaps in their development manage to become coherent. More specifically, the thesis is interested in examining how these obscurities and explanatory gaps can be understood as meaningful aspects of the films' organisation. Since the function of coherence in film has rarely been examined directly, the thesis first attempts to illuminate it by drawing on the work of two aestheticians who have examined it more systematically. Thus, the first part of the thesis discusses the work of Victor F. Perkins and George Wilson, while attempting to explore aspects of the work of these two aestheticians through the analysis of specific films. The writings of Perkins and Wilson provide a good starting point for the thesis because they raise crucial questions regarding the ways through which narrative films manage to deal with significant tensions in their organisation and intelligibility. The main body of the thesis (the second part of the thesis) then examines four narrative films, each of which is marked by a significant aspect of apparent incoherence. In each case, the thesis attempts to show that this aspect of apparent incoherence - rather than merely obstructing the film's intelligibility - essentially contributes to the creation of the film's idiosyncratic internal logic. In order to understand how this becomes possible, the thesis pays close attention to the ways in which the various components of each examined film relate to each other, observing and analysing the aesthetic strategies which enable each examined film ultimately to come together.
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Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture." Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
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Felix, José Carlos 1974. "Caos controlado : a tensão entre controle técnico e liberdade criativa em Mistérios e paixões e Cidade de Deus." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269968.
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Orientador: Fabio Akcelrud DurãoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Expressão mais sintomática do sistema capitalista, a indústria cultural opera em uma lógica que incorpora e harmoniza expressões estéticas antagônicas, emulando uma tensão dialética análoga às obras de arte. O cinema, dada sua natureza industrial, desponta como uma das esferas da indústria cultural a atingir o mais alto grau de sofisticação e controle técnico, firmando padrões estético-narrativos rígidos seguidos não apenas por filmes convencionalmente chamados de comerciais, mas também por aqueles circunscritos ao circuito alternativo e independente. Assim, considerando o argumento de que filmes produzidos fora do esfera comercial estariam mais propensos a romper e subverter a hegemonia do idioma tecnicamente controlado do cinema padrão, a proposta deste trabalho é examinar os filmes Mistérios e paixões [Naked lunch, David Cronenberg, Canadá, 1991] e Cidade de Deus [Fernando Meirelles, Brasil, 2002], a fim de verificar como se estabelece a tensão entre as convenções do idioma tecnicamente controlado do cinema padrão e os gestos que visam a sua desestabilização. A primeira parte está dividida em dois capítulos correlatos, cujo objetivo é discutir como as convenções estético-narrativas do cinema mainstream de Hollywood sintetizam de maneira sui generis o idioma tecnicamente controlado da indústria cultural. O primeiro capítulo investiga os procedimentos a partir dos quais o conjunto de protocolos visuais do cinema norte-americano (composição de quadro, montagem, sonorização, etc.) estabeleceu um modelo diegético prescritivo de bases rígidas, convertendo-se na norma-padrão para a cultura cinematográfica ao redor do planeta. O segundo capítulo discute a maneira pela qual esse mesmo modelo de cinema, movido por tendências do mercado e objetivando alcançar um status de obra de arte, absorve inovações estéticas advindas justamente de movimentos cinematográficos contrários à sua norma estética sem, contudo, alterar suas bases. A segunda parte está dividida em dois capítulos voltados às interpretações dos filmes. O terceiro capítulo aborda o caráter autoral e transgressor na filmografia de Cronenberg em relação ao cinema padrão a partir da problemática do embate entre controle técnico e espontaneidade na criação artística. A hipótese interpretativa centra-se no argumento de que Mistérios e paixões apropria-se da defesa de Burroughs acerca da intoxicação como um mecanismo de subversão de convenções artísticas para forjar uma estrutura de narrativa fílmica que inverte a oposição entre as categorias de alucinação e sobriedade. Como resultado, a inversão dessas valências converte a alucinação em procedimento narrativo modulado justamente por fórmulas e convenções do cinema padrão de Hollywood. O quarto capítulo investiga como a tensão entre controle técnico e liberdade criativa engendra em Cidade de Deus uma nova forma de realismo fílmico contemporâneo em que estéticas e procedimentos cinematográficos historicamente revolucionários são absorvidos pela maquinaria do cinema dominante. Essa tese é discutida a partir de uma leitura cerrada de algumas cenas do filme que evidenciam a fabricação de uma espontaneidade programada, na qual a cinematografia clássica é utilizada para recompor um imaginário da favela com ecos do sertão do Cinema Novo. A discussão assinala ainda como, em sua estruturação narrativa e estilística, Cidade de Deus acomoda uma representação vanguardista da criminalidade e violência juntamente com uma estética padrão de cinema e televisão, apagando qualquer traço de tensão histórica entre ambas. O resultado das interpretações aponta para o fato de que, nos dois filmes, a força do ímpeto criativo, expresso por meio do acaso, aleatoriedade e improviso, é incorporada pelo idioma tecnicamente controlado do cinema, não apenas perdendo seu poder desestabilizador, mas também reduzindo esse ímpeto a mero dispositivo com função estilística
Abstract: The culture industry, a central expression of the capitalistic system, operates through a logic that incorporates and conciliates antagonistic aesthetic expressions by emulating a dialectic tension akin to artworks. Cinema, given its industrial nature, stands out as one of the domains of culture industry to achieve the highest level of sophistication and technical control, establishing stable aesthetic-narrative patterns followed by not only the so-called mainstream films (produced by Hollywood film industry) but also by those labelled as independent. Thus taking into account the argument that films produced out of the mainstream production system are more likely to break with and subvert the hegemony of the technical controlled language of mainstream cinema, the objective of this dissertation is scrutinize the films Naked lunch [David Cronenberg, Canadá, 1991] e City of God [Cidade de Deus, Fernando Meirelles, Brasil, 2002], in order to verify how the tension between the cinematic protocols of mainstream cinema and the artistic expressions that operate against it is established. The first part of this work is divided into two correlated chapters which aim at discussing how the aesthetic-narrative conventions of mainstream Hollywood cinema particularly epitomize the technical controlled language of culture industry in general. Chapter one investigates the procedures upon which the bulk of the mainstream cinema visual protocols (frame composition, montage, sound-system, etc.) set up a stable prescriptive diegetic framework which ends up being the parameter for cinematic culture worldwide. Chapter two discusses the way in which the very type of cinema, triggered by marketing tendencies and aiming to reach the same status of artwork, absorbs aesthetic innovations engendered by cinematic movements contrarious to its aesthetic norms without altering its rigid aesthetic principals. The second part is divided into two chapters devoted to the interpretations of both films. The third chapter focuses on Cronenberg's status as an auteur filmmaker as well as his transgressions with regards to mainstream cinema taking into account the tension established between technical control and spontaneity in the artistic process. The interpretative hypothesis states that Naked Lunch incorporates Burroughs' well-known claim about the intoxication as a means to subvert artistic conventions in order to create a narrative film structure that inverts the opposition between the categories of hallucination and sobriety. The outcome of such inversion transforms the hallucinating experience into a narrative procedure shaped by mainstream cinematic conventions. Chapter four investigates how, in City of God, the tension between technical control and creative freedom results in a new type of film realism in which both aesthetic and cinematic protocols historically revolutionary is absorbed by the mainstream cinematic language. Such argument is discussed through a series of close readings of the film's scenes which evince the forging of a controlled spontaneity in which the classic cinematic conventions are employed to recreate an imagery of the favela that echoes the Cinema Novo portrait of wilderness. The discussion also points out how the narrative and stylistic structure of City of God adjust an avant-gardist depiction of criminality and violence alongside with both cinematic mainstream and television aesthetics, effacing any trace of historical tension between them. In a nutshell, these film interpretations conclude that the power of creative impulse, materialized in elements such as chance and improvisation, is incorporated by cinematic technical controlled language in a way that it does not only wanes their disruptive powers but converts them into sheer stylistic devices
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária
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White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Martins, de Souza Luiz Carlos 1968. "Cartas para quem? = o funcionamento discursivo da "falta" no filme Central do Brasil." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268941.
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Orientador: Suzy Maria LagazziTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem
Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text
Doutorado
Linguistica
Doutor em Linguística
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Szaloky, Melinda Terezia. "Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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