Dissertations / Theses on the topic 'Motion pictures – Research – 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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Urquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.
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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.
3
Khouri, Malek M. "The rise and fall of counter-hegemonic discourse on the working class : National Film Board of Canada films 1939-1946." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36773.
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This dissertation represents the first major examination of the depiction of the working class in the National Film Board of Canada (NFB) films between 1939 and 1946. It is also the first to focus on studying class as it relates to Canadian cinema. In search of the formative roots of the Board's early discourse on labour and the working class, we first look at the historical development of early Canadian cinematic culture, Canadian working class political and cultural discourse and the NFB's own political and working dynamics. We then examine the films and point out connections between their discourse and the views forwarded at the time by supporters of the Popular Front. The survey of the films is contextualized within three phases marking the rise, the solidification and the eventual descendance of this discourse.By the late 1930s, the policies of the Communist Party based Popular Front had already assumed a prominent position within Canadian working class politics. This thesis argues that, during a short period after its establishment, the NFB produced a body of film which introduced a new cinematic discourse on the role and the politics of labour and the working class. It concludes that this discourse was closely affected by the developments that influenced the rise and the decline of the counter-hegemonic movement that was instigated by the Popular Front.
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Ryohashi, Aiko. "The progressive philosophy of Studio D of the National Film Board of Canada : a case study of To a safer place (1987)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23360.
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This thesis explores the relationship between the National Film Board and its audiences, with particular attention to the ways in which the NFB has tried to respond to the needs of Canadians for media representations of themselves, through the Challenge for Change program (1967-1978) and Studio D (1974-). The focus of this work will be on the progressive aspects of NFB productions, which have frequently taken controversial stands against official government policy.In the process, the place of the NFB within a politics of representation will be discussed, and its critical contribution to the constitution of a Canadian "national identity" will be examined. Finally, this study is part of an attempt to investigate characteristics of Canadian society, with respect both to the functioning of government and to the democratic use of film as a medium enabling culturally marginalized people to find their own voices.
5
Geller, Peter G. (Peter Geoffrey) Carleton University Dissertation History. "Northern exposures; photographic and filmic representations of the Canadian North, 1920-1945." Ottawa, 1995.
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Forrett, Steven Lawrie. "Movie poster advertisements: A relevance theory persepctive." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3236.
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The purpose of this thesis is to examine ten movie posters while hypothesizing whether or not their tagline texts could interest a reader. A linguistic framework Relevance Theory, is used in the analysis of this project.
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McKenzie, Susan M., and n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.
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This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.
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Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.
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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.
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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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Zhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.
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Turner, Ralph L. "The Cowboy Way: A Study of Leadership As Portrayed in Western Film." Digital Commons @ East Tennessee State University, 1996. https://dc.etsu.edu/etd/2986.
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This study sought to examine leadership through the medium of film, specifically the genre of the western. The western is iconographic; representative of the American ethos, the western embodied the "frontier myth." The purposes of this study were to examine how leadership was portrayed in a selected sample of western films dating from 1945 to 1995, and to categorize and characterize the leadership methods exhibited in each film. Qualitative in design, the study was concerned with broad description and discovery. Using observation as the data collection technique and content analysis as the research method, the study examined a sample of 29 pre-selected western films released between 1945 and 1995. Individual samples displaying leadership dynamics were drawn from each film through the use of verbatims and character analysis. Each film was examined for examples of leadership in order to gain a better understanding of the role that leadership played in the western and to ascertain leadership models exhibited in the genre. Conclusions of the study emphasized the diverse portrayals of leadership exhibited through this genre. The western showed a depth of character in relation to leadership, displaying a variety of styles, motifs, and characteristics representative of several leadership theories. Some of the concepts of leadership, and the underlying theories and styles portrayed, revealed a universal quality about leadership that transcended theoretical research. The western was a multi-faceted venue through which to study leadership, providing a unique perspective on the dynamics involved in the leadership process both through theory and by praxis.
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Bennett, Austin N. "Cognitive Constituents of Character." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1378503177.
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Davis, Tristan A. "Is this Lady-like? The Portrayal of Women's Relationship with Food in American "Working Girl" Sitcoms between 1966 and 2017." Kent State University Honors College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1588251948629127.
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Baker, Kenneth Rex III. "Lights, Camera, Creating Heroes in Action: Claus von Stauffenberg and the July 20th Conspirators in German and American Filmic Representations of the July 20th Plot." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241204154.
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Wang, Geng-Chen, and 王耕晨. "Motion Pictures Integrate with Non-Photorealistic Rendering Technology Research." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/40233925254279979546.
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碩士龍華科技大學
多媒體與遊戲發展科學系碩士班
104
These days the video system technology, graphics rendering technology used in a large number of recent television animation film growing majority. Rendering technology is divide into two types - Non- Photorealistic Rendering and Photorealistic Rendering. The Photorealistic Rendering of the human visual attention is approaching viewed in the real-world effect, relatively Non- Photorealistic Rendering technology without regard to the truth, and stress is a creation of analog and abstract manner to produce a variety of different styles presented in realistic films, such as : Ink style , Cartoon style rendering. This research the American Film Sin City as the main objective to explore and extend, This film in a non- realistic rendering graphics technology into realistic filming them, so that the film can simulate the real ones non- realistic rendering technology to creative post-production and special effects of the movie. Such films, Rendering technology but still be able to clearly see that there is a very similar to the scene and authenticity. This research made use of software for the After Effects to Sin City movie black and white cartoon style rendering premise, and furthermore the use of cartoon -style pop art of the technology used in the extension, showing a different style in the motion picture. In this paper, the desired result will bring more creators different visual reference to each other and experience, but also expect the majority of the use of this technology even more in the future.
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Burgess, Diane. "Canon busting?: approaching contemporary Canadian cinema." Thesis, 2000. http://hdl.handle.net/2429/10361.
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This thesis explores contemporary Canadian cinema by investigating the convergence of
films, policy and criticism as they are implicated in the idea of canon. Both fluid and multiple in
its frame(s) of reference, the term canon extends beyond a list or core of privileged texts to
include the processes of evaluation. Posited as a performative construct, the national cinema
canon can be seen as offering a strategically deployed expression of national cultural identity,
with appraisals of each film's value arising from the intersection of critical and governmental
discourses; however, narrow admission criteria along with the displaced goal of developing a
distinctive national art cinema reinforce perceptions of absence-of Canadian culture and/or
identity-by delimiting canonical boundaries to exclude more than they include. Focussing on
feature film production since 1984, and adopting a predominantly English Canadian perspective,
this thesis aims to examine the underlying assumptions that direct canon formation; rather than
attempting to reject or replace the existing canon, this process of rereading entails working
within the prevailing discourses in order to generate an awareness of the politics of selection.
Emerging from a tradition of liberal humanist nationalism, canon formation in the
Canadian context invokes conflicting conceptions of high cultural enlightenment and mass
commodity success which have become entrenched as a continuing tension between cultural and
industrial goals. These tensions are further complicated by a "double conscious" perspective
that simultaneously values and rejects American cinema culture. Chapter One explores the
factors shaping the admission criteria of origin and value, while Chapter Two addresses the
relationship between national culture and canon formation. Chapter Three considers the ways in
which Canadian cinema is defined through policy, including a case study of the 1999 Feature
Film Advisory Committee Report, which encapsulates the directional challenges facing cultural
policy development. Approaches to devising a descriptive canon are addressed in Chapter Four,
in which hybrid categories are suggested that could be used to supplant the nationalist
perspective with an acknowledgement of the fluidity of the metaphysical frontier of culture, and
hence the transnational, or perhaps post-nationalist, aspects of Canadian cultural experience.
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Low, Brian John. "NFB kids: portrayals of children by the National Film Board of Canada, 1939-1989." Thesis, 1998. http://hdl.handle.net/2429/10160.
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Social historians have been understandably wary of the contents of motion pictures.
Their reticence to use film as a socio-historical document stems from a valid assumption that,
since almost every film is to some degree a fictional construction, no film or group of films
may be said to accurately reflect a society. In this study, however, a society is presented that
a historian may credibly claim to be accurately represented by film since it exists wholly in
film. It is the cinematic society created by the film archives of the National Film Board of
Canada (NFB).
'NFB society' is set in the 8,000 films produced since 1939 under the NFB mandate:
"to interpret Canada to Canadians." Anchored physically, socially, and intellectually to the
course of Canadian society and the state, this cinematic micro-society possesses a coherent
Social history, which can be re-created by juxtaposing, synchronically and diachronically,
films with like social scenarios. In so doing, patterns of social life, especially social relations
in the micro-society may be observed in transience. NFB children play a significant role in
this transience of NFB society, particularly in regard to dramatic changes in family, school,
and community life which take place after the 1960s.
Key to an explanation of the historical movement that develops within NFB families,
schools, and communities are the 'progressive' socializing structures that replace traditional
ones in the society in celluloid. Of particular interest are the social outcomes of the mental
hygiene movement following its introduction into Film Board families in 1946 and schools in
1953. Over the decades of this study, the authority of NFB parents, teachers, and community
leaders over the socialization of children is diminished by their adoption of the principles of
mental hygiene, their influence over their children gradually supplanted by the influence of
the cinematic state.
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Wilkie, Tanis Eleanor. "Images of the Native Canadian in National Film Board documentary film, 1944-1994." Thesis, 1996. http://hdl.handle.net/2429/4472.
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For fifty-seven years the National Film Board of Canada
(NFB) has been interpreting Canada to Canadians through
documentary films which have simultaneously reflected and
shaped the identity of this country and its peoples. This
study is concerned with the NFB's documentary film portrayal
of Native Canadians. Over the half century that the NFB has
been making films about Canada's indigenous peoples their
portrayal has undergone much change. Comparisons are made in
this study between three of the earliest examples and three
of the most recent examples of such films, with regard to
attitude, voice, and technique. The effect these choices
have upon representation is also discussed.
Changes in technical, artistic, and philosophical
aspects of the documentary film genre have also had a
significant effect upon representation of Native peoples
over the past fifty years, and are considered as well.
Educationally, the study considers issues of
manipulation of knowledge and hidden curricula. Playing an
increasingly important role in education today, the media is
a powerful tool both for teaching and for the inculcation of
social norms. Suggestions are made as to ways in which this
medium can best be used in the classroom.
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Goncalves, Raymond Carlos McClure. "Pausing dramatic tension within contemporary action cinema: the relationship between time slicing/slow motion and suspenseful situations in action feature films through praxis lead research." Thesis, 2016. http://hdl.handle.net/10539/22226.
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Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up.
MT2017
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McIntosh, David. "Globalization, networks and audiovisual spaces : shifting representational relations in Canada, Mexico and Argentina /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11601.
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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Communications and Culture.Typescript. Includes bibliographical references (leaves 438-465). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11601
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Finch, Brian Thomas. "Children's film viewing practices : a qualitative investigation into engagement with a feature film : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Education at Massey University, New Zealand." 2008. http://hdl.handle.net/10179/732.
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This study investigates the ways that children engage with a repeatedly viewed film in domestic settings. The research questions focus on the children's language, their multimodal behaviours while viewing and the understandings they form about a film. The study aims to provide insights for educators by demonstrating the range and nature of the educationally significant understandings, about film, that children construct. An initial survey of 9 and 10 year olds produced 17 children who nominated Harry Potter and the Chamber of Secrets (Columbus, 2002) as a favourite film that they had viewed at least 10 times. A video illustrating the research procedures was used to inform and to stimulate discussion with these children, to ensure that they were able to give educated consent. Observations of pairs of children viewing the film in their homes, followed by a series of activities to elicit discussion, created a set of rich data on the children's engagement practices and understandings of the film. Framed within the interpretivist paradigm, social semiotics and a sociocultural model of learning informed the generation and analysis of the data. A viewing practices engagement framework adapted existing frameworks in literature, literacy and critical literacy to better analyse viewing behaviours, responses and understandings. The engagement practice categories (literal, connotative, aesthetic, structural and critical) enabled multimodal and transcribed verbal data to be meaningfully linked. Several analytic approaches (including multimodal analysis and discourse analysis) were used to provide a full description of viewing engagement. The findings revealed variable levels of overt behaviour during viewing which did not relate to levels of understanding about the film. The range of understandings included aspects of characters, narrative, causation in the film and special effects. Discourse analysis revealed a range of viewing positions taken and social languages used, as well as gender differences in the balance of language used to attribute the film’s emotional effects. The findings provide evidence that children construct a range of educationally relevant understandings through their repeated home viewing of favourites, although structural and critical engagement was not well developed in this group. The findings are relevant to children's learning, audience research and the culture of childhood. The study has implications for parents, for primary school teachers and for education policy.
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Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
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Text in English, with abstracts and keywords in English and SesothoThis doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
Art and Music
Ph. D. (Art)