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Bardsley, Karen. "Out of sight : resemblance, illusion and cinematic perception." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84465.
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In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.
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Rassos, Effie School of Media Film & Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.
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This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.
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Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
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This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
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Roesch, Stefan, and n/a. "There and back again - comparative case studies of film location tourists� on-site behaviour and experiences." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080211.090920.
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Over the last decade, film location tourism has been established as a niche segment in the tourism industry. While this niche has attracted attention from both researchers and marketers alike, not much knowledge has been accumulated about the tourist encounter itself. It is the main purpose of this thesis to research on-site behavioural and experiential aspects of the film location encounter.
For the overall research design, an inductive, comparative case-study approach was implemented. Three cases were selected for this research: The Lord of the Rings locations in New Zealand, The Sound of Music locations in Austria and Star Wars locations in Tunisia. The applied methods are participant observation, image-based data and semi-structured interviews. The data collection was conducted while participating in organised film location tows in order to secure access to the informants.
The first fundamental outcome of this research is that there is no 'film location tourist' as such. People who travel to film locations come from different socio-economic backgrounds, comprise all age groups and possess varying degrees of fandom. The majority of film location tourists, however, have one thing in common, regardless of the underlying movie genre: the longing to connect with the imaginary world of the film by visiting the physical and thus 'real' location places. These places are consumed in two ways: as places of spectacle and as sacred places.
The nature of the location consumption is dependent on a number of factors, including the degree of fandom of the consumers, the attractiveness of the encountered locations, the consistency of the interpretive community, the amount and nature of external distortions and, if applicable, the structure of the location tour. Means of consumption of film locations as spectacle are formal posing, sight recordings and shot re-creations. When experiencing film locations as sacred places, shot re-creations, mental simulations and filmic re-enactments occur. The latter form of consumption can result in a symbiosis between the imaginary and the real place component: the gazing subject becomes the previously (photographed) object.
Regardless of the degree of experiential satisfaction, film location tourists want to bring some of the magic back home. This is achieved not only via mental pictures and physical photographs, but also through souvenirs. These can be off- or on-site. Regarding the latter, these souvenirs are almost holy relics, brought home from a successful pilgrimage and subsequently framed and displayed in an altar-like fashion. The benefits from this are not only self-pride and satisfaction, but also the distinction to other movie fans who have not been able to do the journey themselves. Thus, the person in possession of such a relic gains privileged status amongst peers which in turn raises the satisfaction with the location encounter.
The film location experience cycle comes to a full closure by re-watching the movie. This procedure involves a renewed connection to both the imaginary filmic places as well as the real locations visited. The filmic gaze is extended, as the movie scenes are now seen as part of a real place which extends beyond the filmic sight.
Keywords: Film location tourism - multiple, comparative on-site case study inquiry - film locations as spatial and temporal constructs - the film location tourist encounter - behavioural and experiential interactions with place.
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
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Smolenski, Kristina Lyn. "High fidelity: Adapting narcissism to film." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2101.
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Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
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Chan, Shuen-yan, and 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.
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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
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Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.
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Thomas, Patricia Brooks. "Propaganda on film : shadows from the past, projections for the future?" Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678661.
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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.
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Deacy, Christopher. "Screen Christologies : an evaluation of the Christian concept of redemption and its application through film." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683160.
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Peeler, Scott Edward. "The dynamics of proximity : Hitchcock's cinema of claustrophobia." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.
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The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.
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Chan, Kim-mui Eileen, and 陳劍梅. "Postmodernity and recent Hong Kong cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.
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Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.
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This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.
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Law, Yuk-wa, and 羅玉華. "On time and festivity: a study of Chinese newyear films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.
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Fourie, Elizabeth. "The representation of materialist consumerism in film." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/954.
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People are constantly bombarded with the latest technology, the latest fashion, the latest ‘must have’ item. We are encouraged to buy things that promise to change our lives and give us satisfaction or even create happiness. Interestingly we often succumb to the temptation of these material things, which is not always a negative reaction; however it does become negative when our lives are controlled by material possessions and we give up certain aspects of who we are to enable us to obtain these possessions. Further more it becomes problematic when we start to rely on material possessions to define us in terms of our identity or to help us fit into particular groups within society. With the media playing such a large role in societies at present it is almost inevitable that the phenomenon of materialist consumerism will make its way into the media. The media however holds control, to an extent, over whether or not materialist consumerism is viewed in a negative or affirmative light. An analysis of the representation of materialist consumerism in selected instances of mainstream cinema will be the aim of my proposed study. The study will look at the representation of materialist consumerism in so far as it offers viewers a place to ‘fit’ into a particular group within society. The group I am referring to can be categorised as the upper-middle class of contemporary western society. I have thus selected films that represent this group specifically. For the purpose of the treatise ‘materialist consumerism’ is understood as a way of life, or alternatively, an ideology, which assumes that the accumulation of material wealth through consumption imparts meaning to human lives. The treatise will analyse both sides of the coin, or in other words films that support or promote materialist consumerism and those that either revolt against or criticise this form of consumerism. The study will explore different aspects of consumerism in so far as these are represented in the films, with an identifiable axiological bias.
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Goode, Ian. "Voices of inheritance : aspects of British film and television in the 1980s and 1990s." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/35838/.
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During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.
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Croy, William Glen, and n/a. "The role of film in destination decision-making." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080404.155622.
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The purpose of this research is to create a method and measure the influence of fictional film media in potential tourists� destination decision-making, using a quasi-experimental method. Film tourism researchers have implied that film plays a direct role in generating tourism. In this research, however, it is proposed that film plays an indirect role through the construction of meaning of place, and therefore destination awareness, availability and evaluation.
A two-part multiphase quasi-experimental method was created and implemented to identify change in a destination�s image due to watching a film. Part One. was qualitative in nature and implemented to discover destination image attributes (evaluative components and decision-making factors) used in destination selection (survey n=202, in-depth interviews n=10). Part One concluded with the compilation of a list of relevant, clear and efficient attributes for Part Two. The list maintained sufficient diversity to define destination image, and was composed of 21 decision-making factors and 40 evaluative components. Part Two then measured the destination�s image, and change in that image due to watching a feature film (pre and post survey n=67). Change in this quasi-experimental method was assessed by the importance of the attributes being measured, the influence of the film on these attributes and most importantly the combined effect of the film on these attributes.
The Vertical Ray of the Sun, a film set in Vietnam, was used to apply and test this innovative quasi-experimental method. The application assessed not only the effect of the film on Vietnam�s image, but also the applicability of the method. The film positively influenced the respondents� image of Vietnam. The film had a measured effect on more than half of the attributes. That noted, the actual number of attributes affected to the marked level were 17 out of 61 for the difference in means and only 11 for the eta� value. Consequently, whilst the film positively affected the image of Vietnam, most of the attributes still needed significant change to modify tourism demand.
The thesis importantly contributed to the study of destination image methodologically by asserting the need to assess the importance, influence and effect. This new method can and should be implemented to assess and monitor the effects of many events. This research also contributed by introducing a quasi-experimental cumulative importance-influence measure of effect. The contribution was highlighted in that those attributes with a large influence did not always have a large effect on the destination�s image. Neither performance by itself, nor importance by itself, can be used as a final effect measure.
Finally, this research supports other film-induced tourism studies: film does influence destination image. As presented in more recent studies film-tourism is more likely to be an incidental experience than a reason to visit a place. These more recent studies too may underplay the role of film by focusing on film as an attraction or activity, rather than its role in the actual decision to visit. This research has contributed to film tourism research by highlighting that film can still play a role in the decision-making process, even though it may not be an attraction or a desired experience in itself.
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Colônia, Regina Célia. "Adult age differences in memory for lateral orientation of pictures." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/29327.
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Mecklai, Noorel-nissa S. "Abrogated identity : Muslim representation in Hindi popular cinema 1947-2000." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/352.
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This thesis asks the question: How do the representations of Muslims in Hindi Popular Cinema deny the community identification with the nation. It establishes Hindi cinema as the 'de facto' national cinema and explores the nature of identity and communal relations between the two major Indian religious communities, Hindus and Muslims through an analysis of popular films. It identifies an imbalance in representations of Muslim life where few films show Hindus and Muslims as sharing social and cultural life or where Muslims are represented as modern subjects: an absence of films on 'partition', the division of the country which occurred at the moment of independence, in August 1947; and reproduces stereotypical representations of Muslims as 'the outsider', the villain, or the terrorist at different times in history. The thesis considers the impact of the animosity between Hindus and Muslims concurrent with the rise of Hindu nationalism on Hindi cinema's representations of Muslims. These cumulative representations and absences result in the abrogation of identity for them as citizens through public culture. But it also sees that the complete disavowal of this cinema is problematic for the Muslim participation in the industry, the possibility of the Muslim spectator pleasurable reading of Hindi films; and the observation that representations change over the period in question. The representations broadly move from the secular to the bigoted over the course of the period under consideration.
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Walsh, Lau Man Yee Eliza, and 劉敏儀. "In search of identity: Hong Kong as seen through its cinema from the 1950s to the early 1980s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213728.
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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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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.
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Benfey, Matthias Wilhelm. "Religious cinema as virtual religious experience : a theory of religious cinema applied to Werner Herzog's Herz aus Glas." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72087.
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The dissertation is an exercise in the application of the philosophical hermeneutics of Paul Ricoeur and the biblical hermeneutics of John Dominic Crossan to the aesthetics of religious cinema.The thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case).
Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.
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Cicchetti, 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.
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This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.
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Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.
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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.
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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
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Hubbard, 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/.
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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.
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Mechar, Kyle William. "The cultural logic of dis-ease : difference andas displacement in popular discourses of the AIDS crisis." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23229.
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This thesis investigates the cultural and social production of AIDS in popular discourse, particularly film and mass media, and offers a critical consideration of the ways in which the proliferation and dispersion of these discourses function in our current episteme to rearticulate and reinscribe traditional value systems of sexuality, familialism, and nationalism. Taking the lead of the work of Michel Foucault on the body in various historical regimes, the author here will posit a theoretical analysis of the "discursive formation" of AIDS, how the body of AIDS is put into discourse, to provide a matrix for establishing the various disciplinary and regulatory apparatuses structuring the epidemic--that is, the affirmation of certain kinds of pleasures and bodies and the strategic circumvention of other pleasures and bodies. Under what the author refers to as the cultural logic of dis-ease, the investigations that follow will be animated by the central question: Whose pleasure and/or power is served by these representations and discourses of the body of AIDS in popular cultural practices?
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Jiwaji, Aamera Hamzaali. "Negotiating the global : how young women in Nairobi shape their local identities in response to aspects of the mexican telenovela, Cuando seas mia." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1013364.
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Latin American telenovelas have been exported to more than a hundred countries across the globe. While they are popular in their country of production because their messages resonate with their audience’s everyday experiences, their popularity amongst global audiences with whom they share neither a social nor a cultural history is unexplained. Kenya has been importing and airing Latin American telenovelas since the early 1990s, and telenovelas have permeated many aspects of Kenyan daily life, when compared to other foreign globally-distributed media products that are aired on Kenyan television. As global media products, telenovelas remain open to criticisms from the media imperialism thesis. This research adopts an ethnographic approach to the study of audiences, and looks at the reception of a Mexican telenovela, Cuando Seas Mia, by a group of young Kenyan women in Nairobi. It reflects upon the media imperialism thesis from an African perspective by investigating the meanings that these women make from Cuando Seas Mia, and how these shape their changing local identities and cultures. The young women in this study, most of whom have moved to the city from the rural areas, are influenced by traditional, patriarchal Kenyan society and by the modern, Western influences of an urban environment. They experience a tension between their evolving rural and urban roles and identities and are drawn to telenovelas because their exploration of rural-urban themes holds a relevance to their own lives. They negotiate their contemporary African youth identities, gender roles and heterosexual relationships in relation to representations in the telenovela, questioning and destabilising African and Western definitions. These women select aspects from their traditional, African cultures and from their modern, Western experiences (and consumption of global media) and reconstruct them into a transitional youth identity which suits their day to day lives as young women living in an urban African environment.
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Chéné, Johanne. "La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.
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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.
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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
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Cheung, Ting-yan, and 張婷欣. "Reading beyond "Happily Ever After": refiguring the Disney narrative of femininity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36403465.
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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.
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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
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Campbell, Robin Rhodes. "Images of ethnicity in pornography." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/695.
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Giordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.
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Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.
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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.
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Tsui, Sum-yin, and 徐心言. "Local motion in the image plane and in the stereo-depth plane distortsan object's perceived location and spatial arrangement." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38610607.
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Law, Yuk-wa, and 羅玉華. "The poetics of absence: a study of Antonioni and Wenders." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42577093.
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Chen, Jing, and 陈静. "An investigation of visual cues and the neural mechanisms on human motor control behaviour." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B47849587.
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Accurate perception and control of self-motion is vital for human survival. Most
animals rely on vision for navigating through complex environments. In this
thesis, I investigated how vision influence perception and guide self-motion
from two aspects: (1) what visual information humans pick up from the
environment to form their perception and guide their self-motion; (2) how the
degeneration of the basal ganglia and cerebellum, the two largest subcortical
nuclei connecting the visual and motor areas of the brain, affect the controller’s
performance.
Study 1 examined the condition under which optic-flow information
beyond velocity field helps heading perception. I systematically varied the
amount of information in velocity field through manipulations of field of view
(FOV). The amount of optic-flow information beyond velocity field was
manipulated by two types of displays. I found heading bias increased with the
reduction of FOV only when optic-flow information beyond velocity field was
not available.
Study 2 investigated whether the information investigated in Study 1 is
sufficient and necessary for active control of heading. I used the similar display
simulations as study 1 with the exception that the vehicle orientation was
perturbed pseudo-randomly. Participants used a joystick, under both velocity
and acceleration control dynamics, to continuously rotate the vehicle orientation
back to its heading direction. The results showed that participants’ accurate
performance under condition that only provided velocity field information was
further improved when optic-flow information beyond velocity field was
available.
Study 3 examined the relative contributions of three visual cues (i.e.,
heading from optic flow, bearing, and splay angle) for lane-keeping control.
Observers controlled the car’s lateral movement to stay in the center of the lane
while facing two random perturbations affecting the use of bearing or splay
angle information. I found that performance improved with enriched flow
information. In the presence of splay angles, participants ignored bearing angle
information.
Study 4 investigated the roles of the basal ganglia and cerebellum in
motor control task using brain-damaged patients. Participant’s task was to use
the joystick to keep a blob in the center of the display while the horizontal
position of the blob was perturbed pseudo-randomly. This task is not a
self-motion task but mimics real-world lane-keeping control. Both the
Parkinson’s disease patients and cerebellar patients showed impaired motor
control performance in comparison with the healthy controls.
In conclusion, the visual information used for motor control in general
depends on the task. For traveling along a curved path, the velocity field
contains sufficient information for heading perception and heading control.
Optic-flow information beyond velocity field improves heading perception
when the velocity field does not contain sufficient information. It also helps
heading control when available. For lane-keeping control, adding optic flow
information improves participants’ performance. Splay angle information plays
a more important role than does bearing angle information. The visual
information used for motor control changes when certain brain areas are
damaged. Parkinson’s disease patients and cerebellar patients show the inability
to process visual input effectively for online motor control.published_or_final_version
Psychology
Doctoral
Doctor of Philosophy
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Yam, Chi-Keung. "Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of Christian faith in the public realm after the reversion to Chinese sovereignty in 1997." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/4015.
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In this thesis I study popular Hong Kong cinema through analysing specific films produced between 2001 and 2004. They are Shaolin Soccer (2001), The Infernal Affairs Trilogy (2002-2003), and Kung Fu Hustle (2004). My aim is to identify insights from these films in order both to interrogate and to inform the public expressions of faith by local Christians in the period after the reversion to Chinese sovereignty in 1997. In this thesis, these expressions of faith are represented by local Christian productions released in cinemas also between 2001 and 2004. Being the first detailed study of Chinese language film in the developing field of theology-religion and film, this thesis serves to extend the geo-cultural scope of this area of research. Throughout this study I adopt a tripolar approach to theology which is simultaneously practical, contextual, and cultural. It starts with practical concerns and aims at informing Christian praxis; it is concerned with local issues and reflects on local practices; it regards the cinema as a cultural text and as resource for local theology. My film analysis draws upon a cultural studies approach which combines textual and contextual studies, and is enriched by extensive references to writings by local critics and audience members. Using this multi-layered approach, I scrutinise the top grossing local film of each year from 2001 to 2004 within its original sociocultural context of production and reception. The same approach is also applied to examine the Christian films. At the heart of this thesis is my analysis of both Christian films and popular films. I demonstrate that the local Christian films exhibit a number of characteristics, which include: other-worldly spirituality; individualistic worldviews that focus on personal fulfilment; exclusive emphasis on marriage and the family; as well as disinterest from the social context and indifference towards the present. My contextual study on the development of Christianity in Hong Kong reveals that these characteristics mirror the popular theologies prevalent in many local Christian communities. In contrast, the popular films are often perceived locally to be implicit representations of circumstances after the reversion of sovereignty, and are thus regarded as stories of Hong Kong people and society. I discuss how these films address important issues which confront the people, take the local cultural-religious traditions seriously, assume the point of view of the marginal, and embrace rather than condemn human weaknesses. As cultural texts, they suggest that the people of Hong Kong are struggling with unresolved identities and anxiety over being marginalised, grappling with the tension of retention versus abandonment of collective memories, and longing for transformation from their perceived perpetual despair. These characteristics, I contend, are manifestations of a collective state of liminality experienced by many people in Hong Kong after 1997. In the conclusion, I propose a contextual approach to public expressions of Christian faith for Hong Kong under Chinese sovereignty. My proposed approach involves attentiveness and humility toward local cultural-religious traditions; relocation to the periphery for the assumption of a marginal perspective; identification with and embrace of the liminal condition of the people. Finally, I suggest that the challenge for public expressions of Christian faith in this context is two-fold. First, it is to be able to tell the stories of post-1997 Hong Kong; second, these stories need to be grounded on a sound theology of liminality which embodies and addresses the post-1997 experience in the city. This specific study on Hong Kong cinema also has wider implications for those seeking to express their Christian faith in the public realm, particularly through various popular audiovisual media.
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Wong, Yu-bon Nicholas, and 黃裕邦. "The pomobody: body parts, desire and fetishism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39707507.
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Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture." Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.
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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.
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Mills, Jane Kathryn. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.
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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways.
My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.
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Barbara, Kathleen M. "The post-modern body in cinema." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t044.pdf.
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Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.
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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.