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Dissertations / Theses on the topic 'Motion pictures and literature'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

Sitnisky-Cole, Carolina. "La literatura y el cine Andinos de la segunda mitad del siglo XX de una modernidad sólida a una líquida /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973896441&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Larson, Lesli Anne. ""Scraps, orts and fragments" : Polyscopia in cinematic and literary modernism /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963448.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 296-301). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963448.

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3

Faithfull, Denise. "Adaptations : Australian literature to film, 1989-1998." Thesis, Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.

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Faithfull, Denise. "Adaptations Australian literature to film, 1989-1998 /." Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.

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5

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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6

Schuckman, Emily E. "Representations of the prostitute in contemporary Russian literature and film /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/7168.

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7

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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8

Hall, Alexander Charles Oliver. "Reel Hope: Literature and the Utopian Function of Adaptation." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1372450824.

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9

Fedosik, Marina. "Representations of transnational adoption in contemporary American literature and film." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 226 p, 2009. http://proquest.umi.com/pqdweb?did=1818417541&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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10

Cataldo, Claudia Kingston. "Beyond cute and evil how dwarfs reconfigure boundaries of sexuality, identity, and ability in Germanic literature and film /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925787811&sid=38&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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11

Gallagher, Mark. "Action figures : spectacular masculinity in the contemporary action film and the contemporary American novel /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978590.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 320-335). Includes filmography (leaves 335-337). Also available for download via the World Wide Web; free to University of Oregon users.

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12

Pauw, Waldemar. "The narcissistic masculinity of Travis Bickle : American "Reality" in Martin Scorsese's Taxi Driver." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1761.

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13

McHugh, Ian Paul. "Liminal subjectivities in contemporary film and literature." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/38659/.

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This thesis discusses the intersection of subjectivity and the liminal in contemporary literary and filmic texts. In discussion of eight texts, the thesis weighs the dual meaning of “liminal subjectivities” – the liminal space between subjectivities, and the condition of subjectivity as it negotiates the liminal. It aims to explore how liminality manifests in manners both universal and specific to the literary or filmic form, in the embodiments of characters, and the rhythms and poetics of the text. It considers the liminal a privileged trope of destabilised subjectivity, a space of suspension and potentiality, and explores how the liminal functions as an interface between haecceity and otherness; whether it binds together or holds apart; if it is a space between oppositional states or a continuum of specific sites of intensity. The eight texts discussed are The Rings of Saturn and Vertigo (W. G. Sebald), Sputnik Sweetheart, Kafka on the Shore, and After Dark (Haruki Murakami), Eternal Sunshine of the Spotless Mind and The Science of Sleep (Michel Gondry), My Own Private Idaho (Gus Van Sant). The work of Sebald and Gondry is considered in translation from the original German and Japanese. The thesis considers both literary and filmic texts to contrast the salient modalities of subjectivity that each form constructs. Each chapter considers how liminality manifests at the surface of the text, how a liminal agency operates to interrupt, destabilise, and displace subjectivity in the spaces between languages, genre, form, voice, states of consciousness, word and image, facticity and fictionality, and cinematic and literary tropes and modes. The discussion explores how this is reflected and expanded upon within the text, in liminal embodiments, intensities, and motifs, such as the hypnagogic, rites of passage, the uncanny, home, the vespertine, night, metamorphosis, carnival, as well as issues of space – the non-place, the extraterritorial, and nomadic space.

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14

Tam, Yee Lok. "A critical study on wenyi and wenyi film in republican China." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/488.

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Wenyi film has long been a research focus of Chinese film studies since the 1980s. An abundance of scholars has been writing on the topic of wenyi film, defining its generic nature as literature and art film or film adaptation of great literature, or understanding it in relation to themes of love and human relationships. Many scholars have explored the role of wenyi films in post-war Hong Kong and Taiwan cinemas. Yet, in terms of Republican Chinese cinema, only brief accounts on some wenyi directors or works can be found. This dissertation aims to answer the question of what is wenyi film? by studying materials from the 1910s to the 1940s. Wenyi film as a discursive notion was never static in that period of time and the notion intersects with different discourses and practices. By investigating the interaction between the notion and those discourses and practices, this dissertation aims to present a taxonomy of wenyi film as grouped under the themes of romance, family, national character, heroism and the people.

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15

Asha, Sadek. "The evolution and development of Iranian cinema from film-Farsi to the post-revolutionary cinema, with particular reference to Islam and popular entertainment culture /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.298650.

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16

Page, Rosalyn. "The Marquis de Sade and the cinema of transcendence." Connect to this title online, 2002. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20021210.152101/index.html.

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17

Leeson-Schatz, Joseph. "The technological narrative of biological evolution." Diss., Online access via UMI:, 2009.

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18

Gallagher, Kaleen. "Female suicide in German literature and film since 1955." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709204.

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19

Ross, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.

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20

Neely, Sarah. "Adapting to change in contemporary Irish and Scottish culture fiction to film /." Connect to e-thesis, 2009. http://theses.gla.ac.uk/757/.

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Thesis (Ph.D.) - University of Glasgow, 2003.
Ph.D. thesis submitted to the Department of English Literature and Department of Film and Television Studies, University of Glasgow, 2003. Includes bibliographical references. Print version also available.

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21

Goodyer, Meigan Gates. "Literary theory, the novel and science media." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/goodyer/GoodyerM0508.pdf.

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22

Albertson, Mark C. "Cultivating Chicana/o images negotiating the cinematic mainstream for cultural survival /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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23

Bigman, Fran Caren. "'Nature's a wily dame' : abortion in British literature and film, 1907-1967." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709361.

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24

Qin, Liyan. "Trans-media strategies of appropriation, narrativization, and visualization adaptations of literature in a century of Chinese cinema /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258676.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed Jun 4, 2007). Available via ProQuest Digital Dissertations. Vita. Filmography : p. 264-270. Includes bibliographical references (p. 271-284).

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25

Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.

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26

Hall, Karen J. "War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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27

Devine, Michael G. ""I think of cinemas" the poetry of Hart Crane and the promise of film /." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p1432832.

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28

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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29

Faro, Forteza Agustín. "Películas de libros /." Zaragoza : Prensas Universitarias de Zaragoza, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014845544&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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30

Mi, Jia-Yan. "The spectacle of Xiangtu : home, landscape and national representation in modern Chinese literature, film and art /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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31

Konik, Adrian. "Apollo, Dionysus, dialectical reason and critical cinema." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/295.

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The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.

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32

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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33

Todd, Laura J. "Youth film in Russia and Serbia since the 1990s." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33632/.

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This thesis explores the youth film genre in Russia and Serbia since the 1990s. Youth film is not only an essential means of tracing changes in cultural perceptions about young people and their lives in the post-communist period, but I argue that the genre serves as a means of representing society as a whole. The youth film genre, as an overarching framework dictated by the age of a film’s protagonists, encompasses and adopts a wide variety of sub-genres. This flexibility in youth film allows for an innovative study of the position of one genre as part of a wider sphere of genre film-making in the post-communist period. In particular, I demonstrate that global genre theory can be used as a means to examine the different genre types that have appeared in the cinema of Russia and Serbia in the post-communist period. The film industries of both nations were required to undergo vast changes in the transition from communism to capitalism, making film genres and audience preferences more significant than before. The films I analyse in this thesis borrow extensively from Hollywood genre types, using deviations and national-cultural references to appeal to their domestic audiences. However, I also contend that genres were an important part of the film industries of the Soviet Union and the Socialist Federal Republic of Yugoslavia, and that these genre histories must be considered. My close analyses of six youth films provide the communist and post-communist context for their genre usages, placing them within a wider canon of films from particular genres. This thesis contributes not only to the understanding of the youth film genre and the different ways in which these films are made, but also to knowledge of the use of genres in recent Russian and Serbian cinema as a whole. The chapters of this thesis examine how youth films and youth audiences have become increasingly important to post-communist film industries. I demonstrate that youth film allows directors not only to depict the trials and tribulations of growing up during the transition from communism, but how these youth films often reference the suffering of adults in this period. Young people are situated in a historical limbo, between the communist past and the capitalist future, and as such become a poignant metaphor for the wider experience of transition in these two nations.

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34

Katinakis, Nicolina. "L'influence du cinéma dans l'écriture romanesque de Marguerite Duras." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33293.

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Un Barrage contre le Pacifique, L'Amant and L'Amant de la Chine du Nord, three books written by Marguerite Duras, can be distinguished from the rest of the author's literary production by their will to rewrite the author's love story with a Chinese man. In the first novel of this cycle, cinema occupies such an important place as a theme that it influences the characters' life. In the two other novels, it appears less as a theme than through cinematographical devices that transform the author's literary style.
This thesis attempts to explain in what way cinema influences the novelistic writing of Marguerite Duras. More specifically, this study exposes the three novels' generical, intertextual, thematical and semiotical characteristics in order to establish how they contribute to the creation of a particular writing style influenced by cinema.

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35

Tang, Man-ching Tiffany, and 鄧文菁. "Punctuating experience: memory in Faulkner, Proust, Resnais." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39707295.

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36

Macedo, Lynne. "Fiction and film : the influence of cinema on writers from Trinidad and Jamaica 1950-1985." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/63585/.

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This thesis considers the relationship between film and novels that were published by writers from Trinidad and Jamaica between the years 1950 - 1985. Through close textual analysis and by utilising a combination of cinematic and literary theories, the thesis examines the extent to which filmic references have been absorbed into fictional writing and reflects upon the implications for such cultural transformations. The thesis also provides a detailed, historical background to the development of cinema in both islands, with a further analysis of the specific role played by the Hindi film in Trinidad. The interdisciplinary nature of the literary analysis and the detailed historical data contained herein should be considered an original contribution to knowledge within the field of Caribbean studies.

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37

McBlane, Angus. "Corporeal ontology : Merleau-Ponty, flesh, and posthumanism." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/56960/.

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As posthumanism has developed in the last twenty-five years there has been hesitation in elucidating a robust posthumanist engagement with the body. My thesis redresses this gap in the literature in three intertwined ways. First, it is a critical assessment of posthumanism broadly, focusing on how the body is read in its discourse and how there is a continuation of a humanist telos in terms which revolve around the body. Second, it is a philosophical interrogation, adaptation, and transformation of aspects of the work of Maurice Merleau-Ponty, focusing its reading on Phenomenology of Perception and The Visible and the Invisible, with additional material drawn from his works on language, aesthetics, and ontology. Third, it is a critical analysis of four films drawn from that seemingly most posthumanist of genres, science fiction: Cronenberg's eXistenZ, Spielberg's A.I.: Artificial Intelligence, Rusnak's The Thirteenth Floor, and Oshii's Ghost in the Shell. Science fiction is the meeting place of popular and critical posthumanist imaginaries as the vast majority of texts on posthumanism (in whatever form) ground their analyses in a science fiction of some kind. By reading posthumanism through the work of Merleau-Ponty I outline a posthumanist ontology of corporeality which both demonstrates the limitations of how posthumanism has done its analyses of the body and elucidates an opening and levelling not adequately considered in posthumanist analyses of the body. Following Merleau-Ponty I argue that there is a ‘belongingness of the body to being and the corporeal relevance of every being’, yet, the body is not the singular purview of the human. There are alternative embodiments and bodies which have been previously overlooked and that all bodies (be they embodied organically, technologically, virtually or otherwise) are corporeal.

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38

Fotiou, Mikela. "The cinematic work of Nikos Nikolaidis and female representation." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6729/.

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This thesis examines the work of Greek postmodern filmmaker Nikos Nikolaidis with a specific focus on female representation. I examine Nikolaidis as an auteur and I trace elements throughout his oeuvre that contribute to the formation of his authorial signature. Nikolaidis’s work is autobiographical and highly political. Nikolaidis’s cinema does not abide by the traditional theories of ‘Greekness’, and his main influences are American cinema, and specifically for film noir, rock ‘n’ roll culture and his antiauthoritarian ideology. All these elements are combined together within his work through the use of pastiche. I examine Nikolaidis’s work according to Richard Dyer’s notion of pastiche. Through pastiche he expresses nostalgia for rock ‘n’ roll culture and film noir, but also he expresses his concern for the future. Nikolaidis pastiches a selection of film genres and specific films in order to appropriate the elements that interest him. His pastiche work shows that the filmmaker addresses cineliterate audiences that would ideally understand his dialogue with the different genres and films he pastiches. With regards to female representation in Nikolaidis’s films, women are given leading roles, exhibit varying degrees of agency, and are presented as stronger and more powerful than men. However, their representations remain paradoxical, complex and misogynistic. While on the one hand, women are portrayed as powerful, independent, and able to subvert patriarchy, on the other hand, they are often used as props, rendering their representation inconsistent and problematic. Nikolaidis differentiates and juxtaposes two types of women throughout his work: the powerful women versus the unimportant women. Those who do not conform to the powerful female characteristics are characterised within the second category. Since Nikolaidis was highly influenced by film noir, his female protagonists pastiche the classic film noir figure of the femme fatale.

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39

Spurr, Graeme R. "Amateur video : technology, behaviour and practice, 1965-2015." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7473/.

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In considering the once highly visible and vibrant amateur film club culture of the United Kingdom the 1980s is arguably a pivotal, but controversial, historical decade in accounts of marginal film history. These years witnessed the end of the Scottish International Amateur Film Festival, a perceived sense and feeling of decline in club membership and vitality, and even a displacement of the film medium itself, with the arrival of domestic-level, narrow-video technology in the form of Betamax, VHS and other multifarious magnetic formats. Distinct feelings of loss are evident in amateur film journals of the time, while memories of the era among surviving practitioners are often characterised by senses of watershed and narratives of betrayal and distrust with manufacturers and consumer technology. This thesis through the discovery, analysis, and criticism of original visual and written empirical material will counter such understanding of the 1980s amateur cinema period, by exploring changing nomenclatures, technologies and leisure trends in this era. It will begin to define an increasingly diffuse, ambivalent and problematic narrative of this period, where many assumptions about traditional cinematographic, celluloid technology, the arrival of magnetic recording, and digital editing can be challenged. ‘Common-sense’, popular and individual accounts of this transitory era tend to argue that video was a predominant factor in the overall cultural amnesia that the amateur social world experienced. The critical endeavour of this thesis will be to construct a sophisticated and nuanced narrative of this time that counters and challenges elements of these accounts. Rather than asking what magnetic recording, or video, limited, I will discuss what it inspired and what it promoted in a scene that contrary to popular belief actually flourished, and was invigorated, by the new narrow technology on offer. That there is such discordance between different methodological processes also poses a series of larger meta-historiographical concerns around the primacy of oral history and assumptions of reliability. Questions around the diffusion and dissemination of novel technology into existent specific cultural practices will also be at the forefront of analysis. This project collates amateur film texts (archival and internet-based) and amateur journal material (Movie Maker, Making Better Movies, Videomaker and Amateur Film Maker) in providing an alternative narrative of these developments. Emphasis will be placed on both a specific canon of amateur videos identified within the holdings of the IAC Film and Video Institute Library, and by a collection of interviews with prominent amateur film-makers, whose practice has been permanently shaped by their experience of the transitions in the 1980s. Conjunctural readings of film form, technology, genre, aesthetics, production behaviour, and practice will be developed and illustrated through reference to this canon, with a view to extending the existing historiography of amateur cinema in the UK. Focus will be placed on periodising the amateur’s transitory practice, behaviour and language from the film, to the video, to the digital era, and challenging assumptions of decline, contraction and anachronism. Questions centre on three distinct phases of amateur cinematography and new practice indexed by technological innovation: the obsolescence of film technology in the late-1970s; the impact of early three-way video systems in the 1980s and; the use of computer editing software in the mid-1990s. Considering the prior status and vitality of UK amateur film-making, the thesis will expose a hidden history of amateur film-making post-celluloid, and place considerable emphasis and value on this under-researched and burgeoning area of interdisciplinary scholarship. In conclusion, the thesis will provide an important examination of the transitory stage between film and new digital technologies, and promote further public and academic engagement with this lost leisure community. With a recent focus on digital humanities, the bridge that early narrow-track video technology creates, between amateur cinema's celluloid-past and digital future, remains a significant area for exploration. Three narrative arcs follow, each containing an illustrative micro-historical case study, alongside critical writings on language, behaviour and practice specific to video technology and the magnetic image. These arcs will explore and extrapolate the larger attitudes and values of a social world that underwent technological shifts, not necessarily perceived as positive, or progressive.

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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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Santos, Eduardo Alves dos. "“Un solo túnel, oscuro y solitario”: Ernesto Sábato entre o papel e a tela." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2608.

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Este trabalho se situa no âmbito dos estudos inteartes e tem como objeto um estudo comparativo entre as obras O túnel (1948), do escritor argentino Erneto Sábato e o filme homônimo do diretor portenho León Klimovsky (1952). O objetivo desta pesquisa é analisar comparativamente o texto literário e o texto fílmico, a fim de mostrar as estratégias utilizadas pelo diretor para a construção da narrativa fílmica, de modo a trazer ao espectador uma trama existencialista, que no livro se apresenta como uma narração em primeira pessoa e que na estrutura do filme é contada pelos olhos externos de uma câmera e intermediada pela leitura de personagens que não existem na trama de Sábato. Para tanto serão trazidos para a discussão autores que discutem a adaptação de textos literários para o cinema, como Linda Hutcheon, Robert Stam, André Bazin e Sánchez Noriega. Para analisar o conteúdo de temática existencialista, que explicitamente faz parte das influências presentes em ambas as obras recorremos às ideias de Jean Paul Sartre, mais especificamente aos seus textos O existencialismo é um humanismo e Esboço para uma teoria das emoções. Por fim, tendo em conta que Ernesto Sábato foi, além de autor, um reconhecido crítico literário, fazemos uso de alguns de seus textos, como El escritor y sus fantasmas e Heterodoxia, que se voltam para a discussão da sua própria produção estética e para questões que atingem a produção literária de maneira geral.
This work is within the scope of interarts studies and has as its object a comparative study between the works The Tunnel (1948), by the Argentine writer Erneto Sábato and the film of the same name by the Buenos Aires director León Klimovsky (1952). This research aims to comparative analysis the literary and the filmic text, in order to show the strategies used by the director for the construction of the film narrative, and by so doing bring to the spectator an existentialist plot, which in the book presents itself as a narration in first person and in the structure of the film is presented through the external eye of a camera and intermediated by the readings carried out by characters that do not exist in the plot of Sábato. For that, authors who discuss the adaptation of literary texts to the cinema, such as Linda Hutcheon, Robert Stam, André Bazin and Sánchez Noriega, will be brought to the discussion. In order to analyze the existentialist theme content, which explicitly forms part of the influences present in both works, we turn to Jean Paul Sartre's ideas, more specifically to his texts Existentialism is a humanism and Sketch for a theory of emotions. Finally, considering that Ernesto Sábato was, besides an author, a recognized literary critic, we make use of some of his texts, such as El escritor y sus fantasmas and Heterodoxia, which turn to the discussion of his own aesthetic production and to Issues that affect literary production in general.

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Norton, Daxton L. "The performative/theatrical divide : staging aberrant masculinities in film, literature, and performance art /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190535.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-233). Also available for download via the World Wide Web; free to University of Oregon users.

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Smith, Tonja. "Bioethics for the masses the negotiation of bioethics in film and fiction /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798481011&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Neely, Sarah. "Adapting to change in contemporary Irish and Scottish culture : fiction to film." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/7486/.

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This thesis examines the relationship of Irish and Scottish literature and film comparatively. The field of adaptation has traditionally centred around classical literary adaptations and the heritage film. Considering the increasing frequency with which contemporary novelists are adapted to film, it comes as a surprise that very little analysis has extended beyond the pages of the general media. Recent Irish and Scottish films in particular have relied upon the popularity of their literary exports in order to boost their indigenous filmmaking ventures. While generally considering the dialogic relationship between the publishing, film and television industries, this thesis specifically focuses on the adaptations of novels and short stories by Irish and Scottish writers from the 1980s to the present day. Part one, focusing on the work of Irish authors, looks at Bernard MacLaverty’s Cal (Pat O’Connor, 1984) and Lamb (Colin Gregg, 1985); Patrick McCabe’s The Butcher Boy (Neil Jordan, 1997); Roddy Doyle’s The Barrytown Trilogy, comprising The Commitments (Alan Parker, 1991), The Snapper (Stephen Frears, 1993) and The Van (Stephen Frears, 1996); and Christy Brown’s My Left Foot (Jim Sheridan, 1989). Part two examines the adaptations of Scottish writers, including Christopher Rush’s Venus Peter (Ian Seller, 1990); William McIlvanney’s The Big Man (David Leland, 1990) and Dreaming (Mike Alexander, 1990); Irvine Welsh’s Trainspotting (Danny Boyle, 1996); and Alan Warner’s Morvern Callar (Lynne Ramsay, 2002). Rather than carefully consider the fidelity of the translation from page to screen, this study examines the cultural circulation of the texts in alternative media in relation to their adaptive strategies. The novel’s role in representing ‘Irishness’ and ‘Scottishness’ versus and adapted film’s mode of representation is also considered alongside the influence of the director in contrast to the author, in order to reveal all of the contributing components to the development of a national cinema out of a national literature, both key components of a national culture.

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Laing, Heather Ann. "Wandering minds and anchored bodies: music, gender and emotion in melodrama and the woman's film." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2320/.

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This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.

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Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.

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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.

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Kolker, Danielle. "Mary Shelley, Victor Frankenstein, and the Powers of Creation." Oberlin College Honors Theses / OhioLINK, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411135456.

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Nash, Susan Smith. "Apocalypse in twentieth-century literature, film, and cultural texts : the persistence and questioning of the messianic vision /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Siwak, Jakub. "An investigation of the African subjectivity represented in Gavin Hood's Tsotsi (2006)." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1093.

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This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.

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Paquette, Marie-Louise. "Autour de trois textes-films de Marguerite Duras : Détruire dit-elle, Nathalie Granger, Agatha." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98567.

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The work of Marguerite Duras comprises seventeen "texts-films" distributed throughout its filmic period from 1969 to 1985. These texts guides of films constitute a particular form of filmic writing which utilizes three different modes of expression. Located at the three decade old border, the text-films being studied here, Detruire ditelle, (1969), Nathalie Granger (1972), Agatha (1981) differently ask the same question of the literary, theatrical and filmic genre all while escaping from it. The "texte-film" which is primarily plural and plurifunctional is showed here in three states, at three moments of its continuous creation. In a rejection of the traditional structures of transposition of writing to film, they challenge authorities as varied as the dialogical form, the dramatic text, the scenario. Stages of a long renouncement of writing or revivals of a creativity unceasingly searching for new ways to express itself, the "texts-films" studied here are holding essential keys to understanding the very whole work of Marguerite Duras.

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