Dissertations / Theses on the topic 'Motion pictures Australia Plots'
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Cagle, Paul Christopher. "Historical foundations of Hollywood's social problem film, 1945-1967 /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174579.
Full textPeach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
Full textCrilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.
Full textThesis (Ph.D.)--School of Humanities, 2004.
Weightman, Elise. "The mirror has many faces : an exploration of women's aesthetics in contemporary mainstream Australia." Thesis, Queensland University of Technology, 1999.
Find full textBeeton, Sue 1956. "Film-induced tourism impacts and consequences." Monash University, National Centre for Australian Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7570.
Full textAthique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.
Full textEmerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
Full textReid, Mary Anne. "Success factors in Australian cinema in the 1990s." Thesis, Queensland University of Technology, 2000.
Find full textUrquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.
Full textI begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.
Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.
Full textRomão, Moisés Henrique Mietto. "Belle toujours e a eloquência do silêncio : considerações sobre o épico no filme de Manoel de Oliveira /." Araraquara, 2019. http://hdl.handle.net/11449/182537.
Full textBanca: Fabiane Renata Borsato
Banca: Wiliam Pianco dos Santos
Resumo: O cineasta português Manoel de Oliveira (1908-2015) é reconhecido mundialmente pela sua estética cinematográfica singular. Uma de suas principais características é a relação intrínseca que os seus filmes ostentam com as artes de uma forma geral, como a pintura, o teatro, a literatura, a arquitetura, a escultura, a música e o próprio cinema. Do teatro podemos notar o peso da palavra proferida. Com mais de 50 filmes em sua carreira - longas, médias e curtas-metragens -, o realizador nos presenteou com diálogos antológicos que nos instigam a refletir sobre os mais variados dilemas que perturbam o ser humano. Além disso, a sua distinta estética apresenta traços épicos que causam um distanciamento entre o espectador e o que é mostrado na tela, já que, muitas vezes, seus filmes se mostram realmente como filmes, como espetáculos. Tendo isso em mente, e sublinhando alguns filmes em que os diálogos são imprescindíveis, como em Um filme falado (2003) ou em O gebo e a sombra (2012), para citar apenas dois, é interessante examinar a eloquência do silêncio em Belle toujours (2006), obra em que os diálogos existem e são importantes, mas que recorre à quietude das personagens, em planos fulcrais, para sugerir um significado maior do que aquele que qualquer palavra seria capaz de indicar. Outrossim, a mise-en-scène é composta por elementos expressivos e muito significativos, os quais parecem gritar e dar voz à mudez. Em vista desse silêncio que causa estranheza a nós, espectadores, e que se ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Portuguese film-maker Manoel de Oliveira (1908-2015) is known worldwide for his singular film aesthetic. One of its main characteristics is the intrinsic relation that his films display with art forms in general, such as painting, theatre, literature, architecture, sculpture, music and cinema itself. From theatre, we may notice the weight of the uttered word. With more than 50 films in his career - feature films, medium-length films and short ones -, the director gifted us with anthological dialogues which instigate reflection about various dilemmas that affect the human being. Furthermore, his distinctive aesthetic exhibits epic conventions which create distance between the audience and what is shown on screen, since his films are several times assumed as films, as spectacles. With this in mind, and underlining some films whose dialogues are crucial, as in A talking picture (2003) or in Gebo and the shadow (2012), to name but two, it seems interesting to examine the silence eloquence in Belle toujours (2006), masterpiece in which dialogues exist in their importance, but the film invokes the characters' quietness in fundamental shots, to suggest a deeper meaning than any other possibly indicated by words. Moreover, the mise-en-scène is composed by expressive and very meaningful elements, which seem to make muteness loud and give voice to it. In face of this silence that causes us, the audience, strangeness and that shows itself meaningful, this work aims to analyse how it... (Complete abstract click electronic access below)
Mestre
Boden, Susan, and n/a. "'an unsettled state': the real and the imainary in Australian cinematic and designed landscapes." University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.
Full textRezende, Marília Abrão. "O mistério no cinema: questões de gênero, hibridação e escrita de roteiros." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21339.
Full textMade available in DSpace on 2018-08-13T13:06:59Z (GMT). No. of bitstreams: 1 Marília Abrão Rezende.pdf: 15635182 bytes, checksum: dd6d5b283854e0b868ff7662c531c98a (MD5) Previous issue date: 2018-06-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research regards the mystery on cinema, noting and questioning its typological statute; pointing out its relationship with the following typologies: whodunit, noir, and suspense thriller; and observing the building up of mystery on screenwriting. More specifically, we pose the question: which elements, noticeable since the script, contribute to the understanding of these films as mystery films? Therefore, our corpus comprises three screenplays: Rear Window (1953), Chinatown (1973) and Memento (1999). The screenplay’s analysis is supported somewhat by the work of Jule Selbo –– researcher and screenwriter who studies genre as a tool for writing feature-films ––, and also looks for noticing (A) which situations in these scripts alludes to the mystery universe and the genres related to it; (B) which are the emotional effects provoked on the spectator by the use of genres (C) how could the genres that crosses a script be related to the film’s relevance on its time? The concept of genre adopted comes mostly from Rick Altman, who understands the generic kind in historical perspective instead of seeing it as a fixed category. Altman’s semantic-syntactic approach makes possible the observation of elements that contribute to the analysis of the screenplays mentioned above, summing up to Selbo’s approach. The bibliography also contains names as Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale –– authors that explore the genres in various directions. Beyond them, we found help on a diverse range of authors and researchers, who enriched the discussion. We believe that the relevance of this research is related to the few numbers of works in Brazil regarding the mystery’s statute, as well as to the scarce academic studies related to the practice of screenwriting
Esta pesquisa volta-se para o mistério no cinema, notando e questionando seu caráter tipológico; assinalando sua imbricação com as tipologias do whodunit, do noir e do thriller de suspense; e observando a construção do mistério na etapa de roteirização. Mais especificamente, pergunta-se: quais elementos, presentes desde a etapa do roteiro, contribuem para a apreensão desses filmes enquanto filmes de mistério? Para tanto temos um corpus composto por três roteiros fílmicos: Rear Window (Janela Indiscreta, 1953), Chinatown (Chinatown, 1973) e Memento (Amnésia, 1999). A análise dos roteiros apontados se fundamenta no trabalho de Jule Selbo –– pesquisadora e roteirista que estuda o gênero enquanto ferramenta para a escrita de roteiros longa-metragem –– e busca observar (A) quais situações nesses roteiros remetem, de forma mais imediata, ao universo do mistério e dos gêneros a ele relacionados; (B) quais as relações afetivas que são despertadas no espectador a partir dos gêneros; (C) de que forma os gêneros que perpassam tais roteiros relacionam-se à pertinência dos respectivos filmes na sua contemporaneidade. O conceito de gênero aqui adotado é o de Rick Altman, que entende as categorias genéricas em plano histórico e não como formas imutáveis. A abordagem semântico-sintática do autor possibilita o apontamento de aspectos que contribuem para a observação dos roteiros em questão, complementando a abordagem de Selbo. Os referenciais teóricos da pesquisa também envolvem outros estudiosos como Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale — autores que trabalham o gênero cinematográfico em suas diferentes dimensões. Além disso, encontramos respaldo em importantes nomes da história do cinema. Acreditamos que a relevância da pesquisa liga-se à escassez, na universidade brasileira, de trabalhos relacionados ao estatuto do mistério, bem como à raridade de estudos teóricos que se relacionem à prática de roteirização
Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
Full textMcKenzie, Susan M., and n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.
Full textBarnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
Full textHayes, Kalmia Joy. "Thematic integrity in filmic versions of E.M. Forster's novels." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002261.
Full textJohinke, Rebecca Jane. "Blokes and cars : the construction of masculinities in Australian film / Rebecca Jane Johinke." Thesis, 2002. http://hdl.handle.net/2440/114413.
Full textThesis (Ph.D.) -- University of Adelaide, Dept. of English, 2002
Hopgood, Fincina Elizabeth. "From affliction to empathy: melodrama and mental illness in recent films from Australia and New Zealand." 2006. http://repository.unimelb.edu.au/10187/2859.
Full textEmerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 / by John James Emerson." 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
Full textCrilly, Shane. "'Gods in our own world': representations of troubled and troubling masculinities in some Australian films, 1991-2001." Thesis, 2004. http://hdl.handle.net/2440/37939.
Full textThesis (Ph.D.)--School of Humanities, 2004.
Bryson, Ian. "Bringing to light : a history of the Australian Institute of Aboriginal and Torres Strait Islander Film Unit." Master's thesis, 1998. http://hdl.handle.net/1885/144491.
Full textPeters-Little, Frances. "The return of the noble savage by popular demand : a study of Aboriginal television documentary in Australia." Master's thesis, 2002. http://hdl.handle.net/1885/110389.
Full textHooton, Fiona Art History & Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.
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