Dissertations / Theses on the topic 'Motion pictures – Production and direction – Canada'
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1
Wells, Diane. "Modelling problems of independent sector media : an analysis of market-production relationships with reference to independent film and video in Canada." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63882.
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Hilliard, James Patrick. "The elements of filmmaking." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.
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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.
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Lacaze, Gerowyn. "Negotiating meaning : a handbook for performance direction for the screen." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35846/1/35846_Lacaze_1999.pdf.
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The purpose of this study is to investigate directing, especially from the perspective of a director's relationship with actors. It is intended as a resource
for beginning film makers, including an investigation of current beliefs and practices of both experienced and beginning directors, a workbook of exercises, a documentary illustrating these techniques and a short film that exemplifies performance gained through adherence to a selection of these techniques.
The key focus of this study is to produce a resource that aims to give directors an understanding of possible approaches to facilitating productive actor -
director relationships. It deals with techniques that relate specifically to one of their human resources - the actors. Developing performance in actors assists directors to enhance the integrity of their films, empowering them through a shared language that effectively communicates with actors. Individuals wishing to work as film and television directors require an understanding of the craft of acting and how it fits in this medium. Specifically, they need to demonstrate conceptual originality and logistic viability while harnessing the diverse talents and skills of a creative team. Therefore, directors need to speak a common language, which draws together the interpretative skills of this team. This study aims to develop skills in communication with actors.
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Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.
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Ho, Chui-fun Selina, and 何翠芬. "Ann Hui as a female filmmaker: in search of Hong Kong culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951636.
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Hatton, William 1972. "Disturbing the Peace." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279223/.
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Disturbing the Peace is a short, 16mm sync-sound fiction film. Alone one stormy night, a woman must contend with an intruder breaking into her home. The intruder turns out to be a teenage boy. He claims to have broken in only to retrieve a family heirloom he hid there when he and his parents lived in the same house years ago. When the boy finds the heirloom, the woman begins to believe his story, and soon realizes he doesn't have a good home life. The boy asks permission to stay until the storm breaks. She agrees. Should the boy be trusted, or is he telling one lie after another? The police arrive to witness the outcome of the story.
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Craft, Michael. "The depiction of a character's mental state through visual design in dramatic film (The Machine)." Thesis, Queensland University of Technology, 2002.
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There are many films that deal with the subject of altered
mental states and psychotic experiences. Some films present
these experiences objectively, recording and presenting
events as they unfold. Other films present these experiences from a subjective perspective, attempting to
directly portray a character's experience. The use of different cinematic devices to directly represent the mental
state of a character is my area of research.
In this paper I explore the direct representation of mental
states in dramatic film. During my research I studied films
that have done this, with reference to how they have used
cinematography, narrative devices, montage, sound and
production design for this purpose. The main body of work
for my thesis is a sixteen minute short film, The Machine.
This paper, an analysis of my film, is an adjunct to the
video presentation. It describes my attempt to make a film
about a mental breakdown represented by the progression from
one distinct visual reality to another. It describes how a
variety of directors, films, video clips, books about film,
photographers and fashion designers have influenced my
thinking about film making with regard to this project. I
describe in some detail my experience of the dramas of preproduction, the shoot, post-production, and exhibition of my film. In the reflective analysis I discuss the strengths and weakness of my film, what I would now do differently and some theoretical aspects of its meaning.
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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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Watkins, 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/.
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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.
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Ramos, Luciano 1946. "Oswaldo Massaini : um produtor na história do cinema brasileiro." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285261.
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Orientador: Fernão Vitor Pessoa de Almeida RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T20:03:14Z (GMT). No. of bitstreams: 1 Ramos_Luciano_D.pdf: 19973950 bytes, checksum: 99e0ecf0f122e3ef9cf74f5702ced618 (MD5) Previous issue date: 2014
Resumo: Esta tese consiste num levantamento acerca da história da produção e da comercialização de filmes de entretenimento em São Paulo, tomada como vertente específica da história do cinema brasileiro e elegendo como protagonista, ou eixo central da narrativa a trajetória de Oswaldo Massaini e das empresas às quais ele esteve vinculado: a Cinédia e, principalmente, a Cinedistri. Foi ele o produtor de O Pagador de Promessas em 1962, o único filme brasileiro a ser agraciado, até hoje, com a Palma de Ouro do Festival de Cannes. O período abordado se inicia nos anos de 1930, com a origem da Cinédia onde Oswaldo Massaini ingressou, em 1943, e termina com a sucessão da Cinedistri pela Cinearte na década de 1980. Mas avança no tempo um pouco mais, porque Massaini deixou sucessores ainda em atividade. Focalizando em detalhe suas estruturas de produção, esta pesquisa procura conhecer melhor os meandros e a lógica dessa trajetória empresarial comprometida com a produção e a distribuição de filmes unicamente brasileiros, marcada por uma continuada estabilidade ao longo de quase meio século
Abstract: This thesis consists of a survey on the history of the production and marketing of filmed entertainment in Sao Paulo, taken as a specific aspect of the history of Brazilian cinema and electing as the protagonist, or central axis of the narrative the trajectory of Oswaldo Massaini and the firms to which he was bound: the Cinédia and especially the Cinedistri. He was the producer of "O Pagador de Promessas" in 1962, the only Brazilian film to be awarded, to this date, with the Palme d'Or at the Cannes Film Festival. The period covered begins in the 1930s, with the presence of Oswaldo Massaini at the Cinédia, which began in 1937 and ends with the succession of the Cinedistri to Cinearte in the 1980s. But advances in time a bit longer, because Massaini left successors still active. Focusing in detail their production structures, this research seeks to better understand the intricacies and logic that committed to the production and distribution business history of only Brazilian films, marked by a continued stability, during over nearly half a century
Doutorado
Multimeios
Doutor em Multimeios
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Flores-Muñoz, Roberto-Andrés. "Dirección del cortometraje de ficción La última función." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/5110.
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Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
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Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.
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Diaz, Michael J. "The miseducation of Simon Kraus a record of the film's production." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4672.
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The Miseducation of Simon Kraus is a feature-length film produced, written, directed, and edited by Michael J. Diaz as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The thematic aim of the film is to paint a portrait of the Millennial Generation on the microcosm, by following the story of an apathetic protagonist whose dreams and ambitions are threatened by his own character. The statements, documents, and images contained herein serve to record the experience and motivation behind the film.ID: 029050565; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2010.
M.F.A.
Masters
Department of Film
Arts and Humanities
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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.
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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Beavers, Hannah. "Deva Plus Dog." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849735/.
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Deva Plus Dog is a look at the life of a teenage girl singularly devoted to the sport of dog agility. The film explores how relationships develop and evolve in the high stakes world of competition, and how an alternative lifestyle impacts a youth’s coming of age.
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Dean, 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/.
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This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.
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Sánchez-Villanueva, Kelly-Doris. "Desde la preproducción hasta la distribución. caso: La última función." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/5115.
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Hamonic, Wynn Gerald. ""Disney is the Tiffany's and I am the Woolworth's of the business" : a critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6436.
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Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.
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Rosewell, Susan Tilden. "Examination of Narrative Point of View Through Production by Two Media." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500621/.
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Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.
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Mullins, Michael Bryan. "Hildegard On Rubble Mountain." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.
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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.
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Choo, Christina. "Trend of thought : inspirations for a form of non-linear direction." Thesis, Queensland University of Technology, 2005.
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This is an exegesis, investigating the concept of trend of thought, as a motivation influencing the structure of non-linear storytelling in film. It journeys through the
production of a 32min short drama entitled, Queue, following its evolution from the early stages of the script to the completed film.
Through a self-analysis of my role as a writer, director and editor, I identified the priorities and emphasis placed on the various aspects of the story and film production at
each stage. The thesis shows the growth the film has taken simply by allowing itself to follow the trends of thoughts of the characters within the script.
While focusing its investigation on other known films that have been successful with non-linear structure, this study also examines the very nature of what non-linear is, and
the various methods of non-linear plot and story structures, as a medium of storytelling in cinema.
Finally this thesis concludes that the theory of the trend of thought can be a good concept to use as an influence in finding a motivation for a non-linear story structure, as I have found it useful, in the making of Queue.
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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.
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International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada.The 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.
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Maysonet, Joel R. "Wine & Beer." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4951/.
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Wine & Beer tells the story of childhood friends Brian and Vic who, after spending some time apart, deal with the tensions of sexual orientation after they attempt to renew their friendship. At the beginning it seems that Vic's sexuality will not be a problem, but after the two friends hang out in a local bar, Brian realizes his hometown is not as tolerant as he is. The couple is faced with family and social concerns, which goes from the argumentative to the violent. As the main characters try to mingle with the conservative town, they soon find themselves looked upon by a small town resistant to change. This 35-minute film explores homophobia and violence in small town USA.
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Yang, Hongyi. "Herb and Life: A Chinese Medical Family." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3296/.
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This written thesis examines the process of producing Herb and Life: a Chinese Medical Family, a thirty-minute documentary video that explores the producer's family members' relationship with Traditional Chinese Medicine. This documentary uses interviews, narration, music, and observational sequences to display documentary subjects' career choices and their experiences with Traditional Chinese Medicine. This written thesis reveals the development of this documentary, from the pre-production to production and post-production stages. It also incorporates theoretical analysis and self-evaluation of this documentary video.
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Santos, Júlio César dos. "Fazendo vídeos no Colégio Ottília: tecnologia e arte como ação coletiva." Universidade Tecnológica Federal do Paraná, 2008. http://repositorio.utfpr.edu.br/jspui/handle/1/173.
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Esta pesquisa trata da prática de fazer vídeos no Colégio Estadual Professora Ottília Homero da Silva, cidade de Pinhais, região metropolitana de Curitiba; diferenciando o que se pode perceber a partir da comparação entre dois gêneros distinguidos como: um vídeo-ficção experimental e outro, um vídeo-documentário institucional. Aborda a produção de vídeos no âmbito de uma escola pública, partindo da concepção da pesquisa como prática social tendo como aporte teórico os estudos da cultura, da arte e da tecnologia como ação coletiva, com ênfase nos processos de ensino-aprendizagem. Nesta pesquisa o estudo se concentra na prática de fazer vídeos por um grupo de alunos de uma escola pública, com o objetivo de encontrar algumas evidências das implicações geradas por tal prática como construção simbólica e ruptura de determinadas situações impostas pelo cotidiano compreendendo-a como um ato cultural complexo e transformador. Por que essas pessoas fazem vídeos? Como se dá esta prática nestas circunstâncias? Como se dá este processo de construção cultural simbólica? Entre as evidências encontradas figuram a busca pela inserção social, e a ampliação da reflexão crítica, quando as pessoas envolvidas na prática passaram a questionar suas posições na construção de suas identidades, reflexo e refração do contexto em que estão imersas.This research deals with the practice of making videos at the Colégio Estadual Professora Ottília Homero da Silva, in Pinhais city, in the metropolitan region of Curitiba, differentiating what you can see from the comparison between two different genres: one, a experimental video-fiction, another, a institutional video-documentary. It addresses the production of videos at a public school, based on studies of culture and art and technology as a collective action, with emphasis on the teaching-learning processes. This research study focuses on the practice of making videos by a group of students at a public school, with the goal of finding some evidence of the implications generated by such practice as a symbolic construction and disruption of daily life imposed by certain situations, as a complex act cultural and process. Why do these people make videos over there? How this practice occurs in theses circumstances? How we give this process of building cultural symbolic? The evidence founded included the search for social integration, and extension of critical reflection, when people involved in the practice began to question their positions in the construction of their identities.
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Bowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.
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Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities
27
Grant, Michael E. (Michael Edward). "China Run." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.
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China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.
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Alvarez, Fabiola. "The Scottish national screen agency : justifications of worth." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5020.
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This thesis examines the role of the former national screen agency in Scotland, which was in charge of distributing public funds for screen activity between 1997 and 2010. It examines how external factors such as cultural policy and internal factors such as individual approaches to film funding, affected the agency's perception and remit. The study draws on the institutional logics perspective (Thornton et al., 2012) to frame the interplay of two competing imperatives, one commercial, one creative, affecting the creative industries in Scotland and Scottish Screen's activities more specifically. However, it goes beyond this duality by examining more nuanced factors which significantly affected the organisation's trajectory and remit. Taking into account the predominant logic(s) throughout Scottish Screen's history and focusing on organisational responses during moments of transition or conflict, I use the analytical framework developed by Boltanski and Thévenot in On Justification (2006) to examine criticisms, justifications, and attempts at compromising expressed through official and non-official channels. The thesis outlines how opinions and decisions stemming from disparate views of what is “worthy” affected the agency's activity and funding decisions, as well as the dialogue with its stakeholders. The conclusions extracted from my findings inform existing literature on responses to plurality and challenge some claims made by institutional logic scholars: the first conclusion is that lack of conflict between logics does not necessarily translate into lack organisational conflict, as the latter often derives from different orders of worth which override the commercial-creative logic divide and are incompatible amongst themselves. The second conclusion, related to the first one, is that stability may be enhanced (at least temporarily) in a professional environment dominated by a plurality of logics as long as there is compatibility amongst the orders of worth set forth in pursuit of organisational goals. A third conclusion is related to the examination of some contributions to the orders of worth perspective and the study of plurality and instability in organisational practices, notably Boltanski and Chiapello's (2007) depiction of a seventh world of worth called the ‘projective city' (underpinned by the higher value of activity aimed at creating or maintaining ever-changing networks), and David Stark's (2009) study of plurality and ambiguity management in organisations. My findings suggest that organisational models based on pervasive, horizontal networks capable of transgressing traditional hierarchical structures were never fully deployed in Scottish Screen - traces of these practices are identified, but, overall, actors defended more traditional organisational scripts.
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Montañez-Arica, Jimena-del-Rosario. "Largometrajes animados digitalmente en el Perú. Los casos de Red Animation, Origami Studio y Aronnax." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4547.
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Esta investigación analiza el panorama de largometrajes animados digitalmente en la ciudad de Lima, Perú, durante los años 2004-2016. Se aborda el proceso de realización de las películas, sus dificultades y características primordiales, a través del estudio de tres productoras: Origami Studio, Red Animation y Aronnax. El presente texto ofrece una perspectiva de la industria de la animación en Lima y desagrega tanto sus capacidades como sus posibilidades de desarrolloThe aim of this research is to analyze the feature film digital animation scene, in the city of Lima, Peru, between the years of 2005-2016. To achieve this, the realization process of the animated movies made in the present, along with its main characteristics and difficulties, is investigated through the study of three different production companies: Origami Studio, Red Animation and Aronnax. The text offers an outlook of the animated movie industry and it divides both their capabilities and their development possibilities.
Trabajo de investigación
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Soler, i. Alomà M. Encarnació. "La sarsuela en el cinema com a imatge del quotidià : 1896-1940." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.
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Un dels més reeixits descobriments nascut a les acaballes del segle XIX, el cinema, marcà definitivament la societat aportant noves formes de comunicació i de relació social. Aquest nou art esdevindria no sols una font de distracció i coneixement sinó que, com qualsevol producció artística de l’ésser humà, deixaria una empremta que amb el temps mostraria la seva magnitud com objecte patrimonial.
Néta i filla de músics vaig aprendre a estimar la música, sense distinció. Per aquest motiu, lamentava el rebuig vers el conjunt d’un gènere centenari, la sarsuela, que tants esforços i lluita va comportar als seus autors, músics tan lloables com els que més, músics que s’hagueren de sentir-se titllats en to despectiu de “sarsueleros”. Hom pot comprovar que hi ha música de sarsuela de tan bona qualitat com la de les òperes; hi ha arguments de sarsuela absolutament refusables o excel·lents, com també n’hi ha d’òperes. Per aquests motius, el meu objectiu bàsic va ser l’intent de dignificar el gènere, reivindicar-lo com a espectacle popular, transformat i manipulat segons arbitri del poder dominant, com intentaré demostrar al llarg de la meva exposició.
Per què una societat que encara avui conserva aspectes que provenen de l’assimilació interna generada a través de molts anys rebutjava aquest espectacle? Per què aquest sentiment que la música feta a l’estranger és millor? Quins havien estat els mecanismes que havien arribat a generar en el subconscient col·lectiu aquesta afirmació?
Pel que fa al cinema, l’enorme interès desvetllat vers aquest camp d’investigació, de la que aquesta Facultat és un exemple, iniciat pel Dr. Miquel Porter i admirablement seguit per un important nombre de distingits professors i professores, alumnes ensems del doctor Porter, es presentava més planera. Però el problema es presentà en el moment en què vaig voler aprofondir a l’apartat de les sarsueles cinematogràfiques: en primer lloc –apart d’algun estudi posterior sobre una obra concreta – a la majoria de llibres d’història del cinema espanyol se solventava l’apartat dedicat a les sarsueles amb unes quantes línies. Hi havia una confusió enorme en relació a algunes obres que eren sarsueles, tipificades com a sainets, comèdies, musicals... Algunes d’elles, que provenien de sarsueles, ni tan sols hi figurava aquest origen. De moltes obres hi havia poques dades, només el títol i l’any de rodatge o estrena, amb unes línies sobre el contingut, però la majoria de vegades, res... En resum: la sarsuela hi era de pas.
Vist l’estat de la qüestió, calia emprendre la tasca en vàries vessants: la investigació de la sarsuela en si, dels seus orígens i producció, i dels films que es feren d’elles, amb els mateixos objectius i la interrelació entre ambdós gèneres populars.
La primera part de la investigació, la recerca dels llibrets originals, suposà una gran inversió de temps, donada la dispersió dels materials. Per a la segona part, calia cercar les realitzacions cinematogràfiques que es feren de les sarsueles, buscant-les a diverses filmoteques de l’Estat espanyol, feina gens fàcil, o cercar-les en col·leccions del mercat. La realitat fou molt colpidora: les obres dels primers anys del cinema s’havien perdut en la seva immensa majoria, ja no existien. Segons les dades que es donen a totes les estadístiques del cinema espanyol, de la primera etapa, corresponent al cinema primitiu, s’ha perdut prop del 98 % de la producció, dades susceptibles de desencoratjar vers l’obtenció d’una recerca acurada. Era necessari, doncs, fer un cens del que quedava a les filmoteques de l’Estat espanyol. Va ser enviada la demanda d’informació a totes elles i a les distribuïdores de cinema.
Conseqüència d’aquesta tesi ha estat l’estudi de totes les productores i directors que es dedicaren a filmar sarsueles a l’Estat espanyol, així com també a l’estranger. La tesi albira proporcionar una relació de la gran quantitat de films que les productores dedicaren a aquest camp, analitzar les sarsueles produïdes, quina fou la versió escollida per a la seva versió cinematogràfica i esclarir els films que són en realitat sarsueles, no comèdies, ni sainets, ni musicals, qualificatius genèrics emprats habitualment a les filmografies de cinema espanyol.
Una altra aportació de la tesi pretén destacar la primordial importància del teatre líric en la primera etapa del cinema primitiu espanyol deixant palès quines són les favorables interrelacions de dos gèneres populars, amb recursos a l’hora tan diversos, com són el teatre líric i el cinema que, no cal oblidar-ho, en els seus orígens no tenia so imprès al suport i per tant, depenia del so afegit, en directe o enregistrat.
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Bhrugubanda, Uma Maheswari. "Genealogies of the Citizen-Devotee: Popular Cinema, Religion and Politics in South India." Thesis, 2011. https://doi.org/10.7916/D8ZS33KN.
Full textAbstract:
This dissertation is a genealogical study of the intersections between popular cinema, popular religion and politics in South India. It proceeds with a particular focus on the discursive field of Telugu cinema as well as religion and politics in the state of Andhra Pradesh from roughly the 1950s to the 2000s. By discursive field of cinema, I refer to not only filmic texts, but also disciplines of film making, practices of publicity, modes of film criticism as well as practices of viewership all of which are an inalienable part of the institution of cinema. Telugu cinema continued to produce mythological and devotional films based mostly on Hindu myths and legends many decades after they ceased to be major genres in Hindi and many other Indian languages. This was initially seen simply as an example of the insufficiently modernized and secularized nature of the South Indian public, and of the enduring nature of Indian religiosity. However, these films acquired an even greater notoriety later. In 1982, N.T. Rama Rao, a film star who starred in the roles of Hindu gods like Rama and Krishna in many mythologicals set up a political party, contested and won elections, and became the Chief Minister of the state, all in the space of a year. For many political and social commentators this whirlwind success could only be explained by the power of his cinematic image as god and hero! The films thus came to be seen as major contributing factors in the unusual and undesirable alliance between cinema, religion and politics. This dissertation does not seek to refute the links between these different fields; on the contrary it argues that the cinema is a highly influential and popular cultural institution in India and as such plays a very significant role in mediating both popular religion and politics. Hence, we need a fuller critical exploration of the intersections and overlaps between these realms that we normally think ought to exist in independent spheres. This dissertation contributes to such an exploration. A central argument this dissertation makes is about the production of the figure of the citizen-devotee through cinema and other media discourses. Through the use of this hyphenated word, citizen-devotee, this study points to the mutual and fundamental imbrication of the two ideas and concepts. In our times, the citizen and devotee do not and cannot exist as independent figures but necessarily contaminate each other. On the one hand, the citizen-devotee formulation indicates that the citizen ideal is always traversed by, and shot through with other formations of subjectivity that inflect it in significant ways. On the other hand, it points to the incontrovertible fact that in modern liberal democracies, it is impossible to simply be a devotee (bhakta) where one's allegiance is only to a particular faith or mode of being. On the contrary, willingly or unwillingly one is enmeshed in the discourse of rights and duties, subjected to the governance of the state, the politics of identity and the logics of majority and minority and so on. Religion as we know it today is itself the product of an encounter with modern rationalities of power and the modern media. Hence, we cannot simply talk about the citizen or the devotee, but only of the modern hybrid formation, the citizen-devotee. The first full length study of the Telugu mythological and devotional films, this dissertation combines a historical account of Telugu cinema with an anthropology of film making and viewership practices. It draws on film and media theory to foreground the specificity of these technologies and the new kind of publics they create. Anthropological theories of religion, secularism and the formation of embodied and affective subjects are combined with political theories of citizenship and governmentality to complicate our understanding of the overlapping formations of film spectators, citizens and devotees.
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Ernest-Samuel, Gloria Chimeziem. "The role and significance of Multichoice and its Africa Magic channels in the development of Nollywood." Thesis, 2017. https://hdl.handle.net/10539/24627.
Full textAbstract:
Thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirement for the degree of Doctor of Philosophy. Johannesburg, 2017This thesis explores the contribution and significance of Multichoice Nigeria and its Africa Magic channels in the development of the Nigerian film industry. The main objective of the study is an interrogation of the terms of Multichoice contracts with Nollywood content producers as well as a review of the effect of the programmes of Multichoice on content producers. The second key objective is to examine the development impacts of these initiatives on the Nigerian film industry. Semi-structured in-depth interviews were conducted with industry practitioners, representatives of the Multichoice and officials of government agencies in Nigeria in addition to analysis of policy documents. The thesis is influenced by critical political economy and the critical media industry studies approach developed by Haves, Lotz and Tinic (2009) whose study of creative and entertainment industries focuses on content producers and cultures of production in media corporations. The study examines Multichoice’s production initiatives as perceived by Nollywood content producers, and provides situated accounts of Nollywood filmmakers’ experiences, encounters, pressures and tensions which undermine Multichoice’s apparent social objectives. It modifies the production culture to the culture of business in the media industry and exposes the need for industry practitioners to engage intellectual property lawyers in their business dealings with Multichoice and other corporate agencies in order to forestall exploitation. While highlighting the complexities, contradictions and ambiguities in the Multichoice-Nollywood relationship, as well as the challenges confronting Nollywood, I argue that contrary to the reservations of the content producers, the industry has benefited from Multichoice in direct and indirect ways. These include improved quality of film production, the increased online presence of Nollywood films, enhancing the local tourism and hospitality industry and promoting professionalism. The study therefore recommends government intervention to address the existing mistrust between Multichoice and Nollywood. The study inspires the “early bird theory” to interpret the Multichoice-Nollywood relationship and experience; studying similar relationships between media corporations and the local film industries in Third World nations. This thesis makes original contribution to knowledge by providing resource material to the scarce literature in critical media industry studies with particular regard to the African film industry.
XL2018
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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 text
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Ivanova, Mariana Zaharieva. "DEFA and East European cinemas : co-productions, transnational exchange and artistic collaborations." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2746.
Full textAbstract:
This dissertation focuses on film co-productions of the East German film studio DEFA (Deutsche Film-Aktiengesellschaft) with East and West European partners. It revisits patterns of institutional and transnational collaboration during the Cold War in order to challenge the predominant cliché of the isolation of East European film industries. The project seeks to re-position East German cinema within evolving debates on European film, deriving its argument from archival research on production histories and contemporaneous press releases, as well as from correspondence and personal testimonials such as interviews with former East German and East European filmmakers.
The discussion is structured around three categories that focus attention on the interplay between the East German studio’s co-production agenda and state-imposed film policy: cultural prestige, popular entertainment, and international solidarity. I devote a chapter to each category in my study, and show how co-productions, as collective enterprises at the intersection of national cinemas, allowed DEFA to compete for internationally renowned film stars and to re-appropriate Hollywood genres by forming multinational film collectives and sharing sets, talent, and production costs, while simultaneously negotiating complex economic, political, and market conditions in each host country.
This project moves beyond previous approaches to East German film as European cinema’s ‘other.’ DEFA co-productions provide a privileged route into the examination of socialist film production as a state-controlled and ideologically compliant cultural domain, and, at the same time, as a venue for artistic collaborations that challenged the limitations of state censorship and sponsorship. Undoubtedly, East German and East European films were influenced by international developments and responded to them. Focusing on DEFA as a case study, I shed light on the negotiation of cultural policies not only within a discrete film studio, but also among the various institutions involved in filmmaking in Eastern Europe.text
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Albala, Cardemil David. "That thing you do." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3468.
Full textAbstract:
This report outlines the process of creating and producing the documentary film “That Thing You Do” based on the TV series “1+1=Infinito” (1+1=Infinite). The series and the film provide a better understanding of the concept of Corporate Social Responsibility (CSR) and shows how people can incorporate CSR into their daily lives. The film production was financed by “PROhumana Foundation” (Chile) and shows how three Chilean people: Rodrigo Alonso, entrepreneur, Catalina Valdés, chef, and Javier del Río, architect, are trying to make a difference in their specific fields in terms of environmental impact, saving and using energy properly, and the importance of conscientious eating. The documentary film has taken the concept of CSR and attempted to present it to a massive audience in order to suggest the idea that all of our actions eventually come back to us. Any imbalance in the system that surrounds us and which we are a part of will affect us. In contrast, any improvement to the system will benefit us. The film thus attempts to showcase testimonials by the main characters suggesting small changes we can make in our daily lives in order to work toward this goal.text
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Malherbe, Nick. "Experiences of the resistances to violence using participatory documentary film making." Diss., 2020. http://hdl.handle.net/10500/27489.
Full textAbstract:
Over the last four centuries, South Africa has been shaped by the twinned, dialectical
histories of violence and resistance to violence. However, because both violence and
resistance encompass myriad formations and are underlain with a plethora of ideologies and
hermeneutics, studying each - particularly from within critical community psychology - is
oftentimes necessarily didactic and reductive. Yet, if this kind of research is to retain
emancipatory potential, I contend, it should be both community-oriented and politically
committed. In an attempt to understand how violence moves through Thembelihle, a low income community in South Africa, an expansive lens for conceptualising violence and
resistance is advanced across this research’s four studies. In Study I, I use discursive
psychology to examine how Thembelihle has been constructed in dominant discourse by
analysing newspaper reporting on the community. Following this, in Study II and Study III, I
draw on multimodal discourse analysis to study representations of quotidian life and political
resistance in a participatory documentary film entitled Thembelihle: Place of Hope, which
was collaboratively produced by residents of Thembelihle, professional filmmakers and
myself. Lastly, in Study IV, I harness the narrative-discursive approach to explore how
residents of Thembelihle build community in response to Thembelihle: Place of Hope. It was
found that within dominant constructions, Thembelihle was personified as a monolithic and
an essentially Other geo-cultural space, made newsworthy principally through its engagement
with a broad, often vaguely-conceived, notion of violence. In response to dominant discursive
constructions of this kind, community members who featured in and produced the
documentary advanced a humanistic conception of Thembelihle which did not accept the
different violences to which the community is subject. Following this, audiences of the
documentary engaged the affective and political dimensions of community-building in order to advance a democratically conceived notion of collective will. These findings present
critical community psychologists and violence scholars with a number of considerations
around representation; the multitudinous nature of violence and resistance; psycho-politics; and radical hope. Ultimately, I argue, if such research is to be meaningful, it must be guided
by and subordinated to the emancipatory requirements articulated by community members.Psychology
D. Litt et Phil (Psychology)
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Cloete, Laura. "Both sides of the camera: anthropology and video in the study of a Gcaleka women's rite called Intonjane." Thesis, 2015. http://hdl.handle.net/10539/16935.
Full textAbstract:
This thesis explores the potential of video as a research
tool for anthropologists in the recording of a single
ritual. The study examines interactions between
ethnographers, informants and viewers. The thesis
reveals the capacity of video to make possible close,
detailed readings of performance in terms not originally
anticipated by the researcher. Archival storage of the
video recording allows for critique and assessment of the
research.
The case study chosen in which to test the potential of
\ dcso as a research tool was a woman's 'initiation'
r^L'ial (called inton jane) in Shixini in the Eastern Gape
(in what was, until recently, the independent homeland of
Transkei). Historically, the ritual was supposedly held
at the time of a girl's first menstruation, this being
the physical symbol of her transformation into adulthood.
Ritual seclusion served to effect an accompanying social
transformation in preparation for marriage.
Paradoxically, in the late 1980's, it was older women and
mothers, already married and well past the age of first
menstruation, who were undergoing the ritual seclusion
and symbolic marriage. The study explores this paradox
with the goal of understanding the purpose of the ritual
in contemporary times. By recording large segments of
the ritual on video, and subjecting the footage to a
close analysis of verbal and non-verbal aspects of
performance, both the ritual and the merits of video as
a research tool could be examined.
Video was utilised, in an interactive research process,
as an information elicitation tool. The analysis of the
recorded text of the ritual brings to the fore elements
which make what is apparently a paradox understandable.
The elements which explicate the paradox were not
anticipated when the research commenced, and in all
likelihood would have eluded a researcher who did not
have the benefit of the incidental capture on video. The
thesis reveals the enormous Contribution video can make
to research and suggests that video has an important
contribution to make to the discipline of anthropology.