Dissertations / Theses on the topic 'Motion pictures – censorship – united states'
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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 textHubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.
Full textYeung, Yuk-ngan, and 楊玉顔. "Gender representation in films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.
Full textGonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.
Full textCavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.
Full textTitle from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.
Banchuen, Woraphat. "A comparative study of product placement in movies in the United States and Thailand." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3265.
Full textBudziszewski, Przemyslaw. "Our enemy, ourselves: Political conspiracy in American cinema, 1970-present." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4269/.
Full textFord, Conny (Conny M. ). "Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995)." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.
Full textHall, 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.
Full textJarvinen, Lisa. "Hollywood's shadow the American film industry and its Spanish-speaking markets during the transition to sound, 1929--1936 /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.
Full textCicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.
Full textAhearn, John P. (John Patrick). "A History of Contemporary Independent Film Marketing in the United States (1989-1998)." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277701/.
Full textLarrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319100.
Full textCobb, Thomas. "Decade of disarray : Hollywood allegories of U.S. foreign policy, 1999-2009." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8660/.
Full textHawkins, Michael Gary. "Co-producing the postcolonial U.S.-Philippine cinematic relations, 1946-1986 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619118721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textWatkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.
Full textTsang, Wai-ho, and 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.
Full textpublished_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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.
Full textDean, Adam T. "The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.
Full textJozajtis, Krzysztof. "Religion and film in American culture : the birth of a nation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/1501.
Full textMaltère, Hugues. "The socio-political dimension of film noir." Thesis, Virginia Tech, 1992. http://hdl.handle.net/10919/44231.
Full textAfter World War II, Hollywood produced a series of low budget pictures characterized by a dark mood, bleak urban landscapes and fierce violence. French critics called them films noirs (black films). These movies presented a critical vision of the social injustice present in the American capitalist society. This thesis examines the socio-political dimension of film noir firstly through its social, literary and filmic origins, then through a piecework study of shots and dialogues from six noir pictures: Body and Soul (1947), Force of Evil (1948), Knock On Any Door (1949), Kiss of Death (1947), I Walk Alone(1948) and The Set-up (1949). It is shown how the Marxist convictions of their makers influenced their style and their content. Even films noirs made by apolitical or moderate filmmakers follow a similar pattern. It is concluded that film noir contains expressions of anti-capitalist struggle toward social justice and moral redemption. The appeal of these ideas to many Americans is shown by the box-office success of these pictures, while many noir writers, actors and directors were the victims of the reactionary repression of the early fifties.
Master of Arts
McCready, Sarah Scott. "Serial Killing Myths Versus Reality: A Content Analysis Of Serial Killer Flicks Made Between 1980 and 2001." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3228/.
Full textReynolds, Kevin Patrick. "That justice be seen : the American prosecution's use of film at the Nuremberg International Military Tribunal." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7595/.
Full textAndrin, Muriel. "La fascination de la corruption: étude de l'héroïne maléfique dans le mélodrame filmique américain (1940-1953)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211697.
Full textBain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Turner-Reed, Laura. "'Gimme That Ole Time Religion': Traditionalism, Progressivism and Popular Media." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3202/.
Full textSchnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.
Full textDepartment of History
Throckmorton-Belzer, Leslee. "Seeing celebrities smoke in cinema : how are young people impacted?" Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124737.
Full textDepartment of Psychological Science
Lafferty, Sarah. "Holding Out For A Female Hero: The Visual And Narrative Representation Of The Female FBI Agent In Hollywood Psychological Thrillers From 1991-2008." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237405595.
Full textKhor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.
Full textTitle from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).
Petrocelli, Heather Oriana. "Portland's "Refugee from Occupied Hollywood": Andries Deinum, his Center for the Moving Image, and Film Education in the United States." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/608.
Full textFranks, Kristin N. "Exclusion at the Border: Female Smugglers in Maria Full of Grace and Frozen River." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244470239.
Full textWasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.
Full textArora, Kulvinder. "Assimilation and its counter-narratives twentieth-century European and South Asian immigrant narratives to the United States /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3200730.
Full textTitle from first page of PDF file (viewed March 1, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 240-248).
Schembri, Peter Mark. "The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.
Full textHousel, Rebecca Anne Languages & Linguistics Faculty of Arts & Social Sciences UNSW. "My truth: women speak cancer." Publisher:University of New South Wales. Languages & Linguistics, 2007. http://handle.unsw.edu.au/1959.4/40732.
Full textGirotto, Breno. "A vitória dos vencidos : política e identidade no filme O Álamo, de John Wayne /." Assis, 2019. http://hdl.handle.net/11449/181854.
Full textBanca: José Luis Bendicho Beired
Banca: Mary Anne Junqueira
Resumo: Em 1960 era lançado o filme O Álamo, dirigido, produzido e protagonizado por John Wayne, um dos maiores atores de Hollywood. O Álamo tratava da história de 180 combatentes que tomaram o forte de mesmo nome para lutar contra as tropas mexicanas lideradas pelo presidente General Antonio Lopes de Santa Anna. O filme de Wayne retrata um evento controverso da história compartilhada entre México e Estados Unidos. A Batalha do Álamo, como ficou conhecido o conflito revivido pelo filme de John Wayne, ocorreu entre 23 de fevereiro e 6 de março de 1836, e foi o cerco de 13 dias ao forte Álamo, pequena missão fundada por espanhóis no século XIX. Esta batalha está inserida no contexto da Revolução do Texas, conflito gerado por colonos da província de Coauhilia y Tejas que buscavam maior autonomia na gestão da colônia, assim como liberação da utilização de mão-de-obra escrava, abolida no México desde 1829. O filme de Wayne se insere no contexto político da Guerra Fria, conflito que polarizou o mundo entre Estados Unidos e União Soviética, apresentando um conflito entre um governo autoritário, o de Santa Anna, e rebeldes que lutam pela liberdade, grupo liderado Jim Bowie, Davy Crockett e William Travis. O Álamo ainda proporciona compreender quais as visões de mundo e tendências políticas seguidas por John Wayne, bem como o que ele entende sobre este conflito, que habita o imaginário americano desde o século XIX
Abstract: Battle of the Alamo, as it became known, occurred between February 23 and March 6, 1836, and was the siege of 13 days to the Alamo, a small mission founded by Spaniards in nineteenthcentury. This battle is embedded in the context of the Texas Revolution, a conflict generated by settlers from the province of Coahuila and Texas who sought greater autonomy in the management of the colony, as well as liberation from the use of slave labor abolished in Mexico since 1829. Wayne's film fits into the political context of the Cold War, a conflict that polarized the world between the United States and the Soviet Union, presenting a conflict between an authoritarian government, that of Santa Anna, and rebels fighting for freedom, group led by Jim Bowie, Davy Crockett and William Travis. The Alamo still provides an understanding of John Wayne's world views and political tendencies, as well as what he understands about this conflict, which inhabits the American imagination since the nineteenth century
Mestre
Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.
Full textMills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.
Full textDepartment of History
Colson-Duparchy, Alexia. "Bridges, hoops and pools : international film co-production : the interface between culture and trade." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=78210.
Full textThe author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels.
A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade.
Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.
Munde, Gail Marie. "An Examination of Selected Product Characteristics Associated with the Sales Success of Nontheatrical Film and Video Works." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331458/.
Full textMoore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
Full textJay, Samuel M. "Transforming the Predator: Representations of the Child Sexual Abuser in 21st Century American Visual Media." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11031/.
Full textLangley, Richard Mark. "Ameritocracy : Hollywood blockbusters and the universalisation of American values." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3376/.
Full textArthur, Tori. "The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467889165.
Full textCallahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.
Full textZhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.
Full textHwang, Junghyun. "Specters of the Cold War in America's century the Korean War and transnational politics of national imaginaries in the 1950s /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336473.
Full textTitle from first page of PDF file (viewed December 16, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-219).
Titman, Nathan. "THE REBIRTH OF SLICK: CLINTON, TRAVOLTA, AND RECUPERATIONS OF HARD-BODY NATIONHOOD IN THE 1990s." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151330074.
Full textGrant, Michael E. (Michael Edward). "China Run." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.
Full text