Dissertations / Theses on the topic 'Motion pictures – Social aspects – Congresses'
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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.
Full textNtsane, 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.
Full textENGLISH 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.
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.
Full textGazetas, 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.
Full textMontgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.
Full textChan, 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.
Full textCroy, 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.
Full textFourie, Elizabeth. "The representation of materialist consumerism in film." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/954.
Full textMechar, 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.
Full textStober, 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.
Full textHubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.
Full textWalsh, 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.
Full textRoesch, 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.
Full textChéné, 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.
Full textCheung, 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.
Full textCicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.
Full textLam, 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.
Full textNorrie, 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.
Full textCampbell, Robin Rhodes. "Images of ethnicity in pornography." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/695.
Full textWong, 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.
Full textHurlstone, 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.
Full textBarbara, 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.
Full textWelch, Mark, University of Western Sydney, and Faculty of Nursing and Health Studies. "Reel madness : the representation of madness in popular western film." THESIS_FNHS_XXX_Welch_M.xml, 1997. http://handle.uws.edu.au:8081/1959.7/705.
Full textDoctor of Philosophy (Hons)
Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.
Full textMills, 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.
Full textJeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
Full textWelch, Mark. "Reel madness : the representation of madness in popular western film." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/705.
Full textBahmad, Jamal. "Casablanca belongs to us : globalisation, everyday life and postcolonial subjectivity in Moroccan cinema since the 1990s." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/19847.
Full text陳振國 and Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.
Full textMaltère, Hugues. "The socio-political dimension of film noir." Thesis, Virginia Tech, 1992. http://hdl.handle.net/10919/44231.
Full textAfter World War II, Hollywood produced a series of low budget pictures characterized by a dark mood, bleak urban landscapes and fierce violence. French critics called them films noirs (black films). These movies presented a critical vision of the social injustice present in the American capitalist society. This thesis examines the socio-political dimension of film noir firstly through its social, literary and filmic origins, then through a piecework study of shots and dialogues from six noir pictures: Body and Soul (1947), Force of Evil (1948), Knock On Any Door (1949), Kiss of Death (1947), I Walk Alone(1948) and The Set-up (1949). It is shown how the Marxist convictions of their makers influenced their style and their content. Even films noirs made by apolitical or moderate filmmakers follow a similar pattern. It is concluded that film noir contains expressions of anti-capitalist struggle toward social justice and moral redemption. The appeal of these ideas to many Americans is shown by the box-office success of these pictures, while many noir writers, actors and directors were the victims of the reactionary repression of the early fifties.
Master of Arts
Shen, Jin. "On translation of swearwords from English to Chinese : a case study on subtitling Terminator I-IV." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525845.
Full textZhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.
Full textLeme, Caroline Gomes 1986. "Cinema e sociedade = sobre a ditadura militar no Brasil." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281781.
Full textAcompanhado de 2 DVDs: Cenas compiladas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: De 1979 aos dias atuais, a ditadura militar fez-se presente em um número significativo de obras fílmicas. Analisar essa produção cinematográfica é examinar como está sendo ressignificado o passado, quais questões estão sendo obliteradas, que ambiguidades e tensões perpassam a interpretação do processo sócio-histórico. Esta pesquisa propõe-se a trabalhar a relação entre cinema e sociedade no que tange aos enunciados social e culturalmente construídos a respeito do período do regime militar vigente no Brasil de 1964 a 1985. O objeto de investigação são os filmes de longametragem lançados entre 1979 e 2009 que se reportam ao tema da Ditadura Militar no Brasil e seus desdobramentos. O pressuposto é o de que as obras fílmicas, enquanto produções culturais, podem ser consideradas meios legítimos e diferenciados para o conhecimento da sociedade, uma vez que são constitutivas da realidade social, produzindo significados, valores e proposições expressados através de sua construção própria. Pauta-se na concepção de cultura do materialismo cultural de Raymond Williams (2000) e fundamenta-se essencialmente no referencial teórico-metodológico de Pierre Sorlin (1985,1994). Realiza-se um levantamento amplo e fundamentado da filmografia que tematiza a ditadura militar brasileira e dedica-se um olhar mais atento aos seguintes filmes: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980); Nunca fomos tão felizes (Murilo Salles, 1984); Corpo em delito (Nuno Cesar Abreu, 1990); Ação entre amigos (Beto Brant, 1998); A terceira morte de Joaquim Bolívar (Flávio Cândido, 2000) e Zuzu Angel (Sérgio Rezende, 2006), os quais correspondem a um espectro amplo de possibilidades cinematográficas.
Abstract: From 1979 to today, the military dictatorship has been theme of a significant number of movies. Analyze this filmography is to examine how the past has been reframed, what aspects are being obliterated, what are ambiguities and tensions that underlie the interpretation of socio-historical process. This research proposes to study the relationship between cinema and society with respect to the socially and culturally constructed enunciations about the period of military rule in Brazil (1964-1985). The object of investigation are the feature-length films released between 1979 and 2009 that relate to the theme of military dictatorship in Brazil. It is assumed that the movies, as cultural productions, can be considered legitimate and differentiated sources for investigate the society, since they are constitutive of social reality and produce meanings, values and propositions expressed by its own construction. It is guided in the concept of culture from Raymond Williams (2000)'s cultural materialism and is based essentially on Pierre Sorlin (1985, 1994)'s theoretical and methodological framework. It is done a broad and grounded survey of the filmography that deals with the Brazilian military dictatorship and is dedicated a closer attention to the following films: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980);
Mestrado
Sociologia
Mestre em Sociologia
Jozajtis, Krzysztof. "Religion and film in American culture : the birth of a nation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/1501.
Full textErnst, Priscila. "Cinema e ensino: a produção de cinema de animação para o ensino de ciências por meio do enfoque Ciência, Tecnologia e Sociedade (CTS)." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2723.
Full textEste trabalho apresenta a análise e os resultados de um estudo desenvolvido com alunos de uma turma de 7º ano de um colégio estadual público de São João do Triunfo - PR, Brasil, em relação ao tema Cinema e Ensino. O objetivo da pesquisa foi verificar as contribuições de se ensinar Ciências (conteúdo de vírus e bactérias) em um enfoque CTS - Ciência, Tecnologia e Sociedade; visando a Alfabetização Científica e Tecnológica - ACT, utilizando como estratégia didática a produção de Cinema de Animação com a técnica Stop Motion. O Stop Motion é um processo de animação onde é feita a captação de fotograma a fotograma, usando uma máquina fotográfica e uma fonte de luz. A abordagem metodológica foi qualitativa de natureza descritiva com observação participante. Durante o estudo os alunos e a professora de Ciências da turma, participaram de aulas de Ciências com enfoque CTS, pesquisas sobre os temas abordados e oficinas de produção dos vídeos. Os alunos criaram personagens a partir de materiais como massa de modelar, desenhos, recortes de revistas e pequenos objetos, para dar vida e movimento nas animações. Os principais autores que fundamentam esse estudo são: Lorenzetti (2000), Gowdak; Martins (2015), Bazzo (2014), Silveira (2005), Santos e Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) e Duarte (2009). Ao final do estudo, observou-se que a pesquisa trouxe contribuições para a Educação em Ciências e a promoção da Alfabetização Científica e Tecnológica. Os alunos demostraram mais segurança para falar sobre o tema abordado, mostrando interesse e motivação. Também se percebeu que os alunos analisaram os assuntos discutidos durante as aulas de Ciências de forma mais crítica, fazendo questionamentos e relacionando o conteúdo estudado com suas próprias vidas. Os estudantes se preocuparam com questões como: o surgimento das vacinas, as doenças negligenciadas no país, bactérias na produção de plástico, alimentos que ajudam na imunidade do corpo, entre outros assuntos de relevância para o processo de reflexão e desenvolvimento do senso crítico dos mesmos.
This paper presents the results the study developed with students of the secondary education in a group of the 7th grade of a public school in São João do Triunfo - PR, Brazil, in relation to the theme Cinema and Teaching. The aim of of the research was to verify the contributions of teaching Science (content virus and bacteria) in a STS approach - Science, Technology and Society, aiming at the Scientific and Technological Literacy, using as a didactic strategy the production of Animation Cinema with the Stop Motion technique. Stop Motion is an animation process where frame-by-frame capture is performed using a camera and a light source. The methodological approach was qualitative of a descriptive nature with participant observation. During the study the students and the classroom science teacher participated in science classes with a STS approach, Research on the topics covered and workshops for the production of videos.The students created characters from materials like modeling mass, drawings, magazine clippings and small objects, to give life and movement in the animations.The main authors that base this study are: Lorenzetti (2000), Gowdak, Martins (2015), Bazzo (2014), Silveira (2005), Santos and Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) and Duarte (2009). At the end of the study, it was observed that the research brought contributions to Science Education and the promotion of Scientific and Technological Literacy. The students demonstrated more confidence to talk about the topic addressed, showing interest and motivation. It was also noticed that the students analyzed the subjects discussed during the science classes in a more critical way, questioning and relating the content studied with their own lives. Students are concerned with issues such as: the emergence of vaccines, diseases neglected in the country, bacteria in the production of plastic, foods that help immunity of the body, among other issues of relevance to the process of reflection and development of the critical sense of the same.
"中國電影的政經分析 (1979-1994)." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895568.
Full text論文(碩士) -- 香港中文大學硏究院傳播學部, 1995.
附參考文獻.
Xue Ting.
Chapter 第一章 --- 引言
Chapter 1. --- 硏究背景 --- p.1
Chapter 2. --- 硏究方法 --- p.2
Chapter 3. --- 論文結構 --- p.2
Chapter 第二章 --- 理論依據
Chapter 1 . --- 政治經濟學 --- p.4
Chapter 2. --- 媒體的政治經濟學 --- p.11
Chapter 3 . --- 理論的啓示 --- p.18
Chapter 第三章 --- 中國的政經環境和媒體的關係
Chapter 1 . --- 中國政治經濟互動關係的運作背景 --- p.20
Chapter 2 . --- 中國政治經濟和媒體作爲政治宣傳工具的轉變 --- p.28
Chapter 3 . --- 分析架構硏究方法 --- p.31
Chapter 第四章 --- 中國電影的本質、管理體制和思想指導
Chapter 1 . --- 中國電影本質的歷史發展 --- p.36
Chapter 2 . --- 電影的管理體制和指導思想 --- p.43
Chapter 第五章 --- 中國電影的發展和互動
Chapter 1. --- 電影事業的槪況 --- p.52
Chapter 2 . --- 政經互動和電影發展的歷史關係 --- p.59
Chapter 3. --- 電影事業的矛盾論 --- p.78
Chapter 4 . --- 小結:政治´ؤ電影發展的重擔 --- p.91
Chapter 第六章 --- 北京電影制片廠--個案硏究
Chapter 1. --- 系統內尋求適應的組織 --- p.96
Chapter 2. --- 硏究假設和方法 --- p.97
Chapter 3. --- 政經環境變化和北京電影廠的發展 --- p.100
Chapter 4. --- 小結 --- p.134
Chapter 第七章 --- 總結和討論
Chapter 1. --- 電影事業自主權和組織變化 --- p.139
Chapter 2. --- 電影事業發展和政府控制 --- p.140
Chapter 3. --- 矛盾中尋求平衡的電影事業 --- p.142
Chapter 4. --- 硏究啓示 --- p.144
附表二 : 電影類型編碼定義
附表二 : 北京電影制片廠電影生產年表(1979-1994)
參考書目
"Social reality as reconstructed in Chinese cinema under Deng Xiaoping." Chinese University of Hong Kong, 1986. http://library.cuhk.edu.hk/record=b5885640.
Full text"Exhibitors' shadow land: a study on how movie-exhibitors in China restructure movie-going activity." 1997. http://library.cuhk.edu.hk/record=b5889099.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 351-354).
ABSTRACT --- p.ii-iv
ACKNOWLEDGEMENT --- p.v
LIST OF FIGURES --- p.vi-vii
LIST OF ILLUSTRATIONS --- p.viii
CHAPTERS
Chapter PART I --- Introduction --- p.1
Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30
Chapter 2 --- Approaches from existing film studies --- p.31
Chapter 3 --- Structuration: social practices and social structure --- p.49
Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73
Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91
Chapter PART III --- The reflector's self-reflection --- p.105
Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109
Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127
Chapter PART IV --- Redefing what cinema is --- p.149
Chapter 8 --- Confusion over a simple matter --- p.150
Chapter 9 --- Delineating a new landscape of the cinema --- p.165
Chapter 10 --- "In name, in language, in ""affairs""" --- p.195
Chapter PART V --- Redefining what movie-viewing is --- p.224
Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225
Chapter 12 --- Reconstructing movie-viewing space --- p.249
Chapter 13 --- Reconstructing movie-viewing time --- p.281
Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303
REFERENCES --- p.351
"SomeThing (un)desirable: serial killers in selected contemporary bestsellers and films." 1999. http://library.cuhk.edu.hk/record=b5889924.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 118-127).
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.v
Acknowledgments --- p.vi
Chapter Chapter One --- Introduction: The Empire of the Serial Killers --- p.1
Chapter Chapter Two --- Stereotyping in Serial Killer Movies and Bestsellers --- p.26
Chapter Chapter Three --- Inter-serial-textuality --- p.68
Chapter Chapter Four --- Controversies --- p.103
Conclusion --- p.113
Works Cited --- p.118
Appendix --- p.128
Bhrugubanda, Uma Maheswari. "Genealogies of the Citizen-Devotee: Popular Cinema, Religion and Politics in South India." Thesis, 2011. https://doi.org/10.7916/D8ZS33KN.
Full text"Culture and modernization in the Hong Kong new wave movement: a culture industry perspective." 2005. http://library.cuhk.edu.hk/record=b5896449.
Full textThesis submitted in: July 2004.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 184-193).
Abstracts in English and Chinese.
ABSTRACT --- p.i
論文摘要 --- p.ii
ACKNOWLEDGEMENTS --- p.iii
CONTENTS --- p.v
INTRODUCTION
Chapter 1.1 --- Empirical Puzzles and Theoretical Concern --- p.1
Chapter 1.2 --- The Cultural Scene in Hong Kong --- p.5
Chapter 1.3 --- Defining the New Wave Cinema --- p.8
Chapter 1.4 --- The Objectives of the Thesis --- p.12
Chapter Chapter 2 --- In Quest of Theoretical Perspective and Analytical Framework
Chapter 2.1 --- Existing Studies of the New Wave Cinema --- p.13
Chapter 2.2 --- The Study of Popular Culture in Hong Kong --- p.21
Chapter 2.3 --- Culture Industry: The Approach of the Frankfurt School --- p.28
Chapter 2.4 --- The Elective Affinity of Culture Industry with Hong Kong Society --- p.33
Chapter 2.5 --- Analytical Framework --- p.36
Chapter Chapter 3 --- The Anxiety of Political Subjectivity
Chapter 3.1 --- Prelude --- p.45
Chapter 3.2 --- The Perturbed Hong Kong People --- p.50
Chapter 3.3 --- The Hong Kong Diaspora --- p.57
Chapter 3.4 --- The Negative Projection on the Colonizers --- p.60
Chapter 3.5 --- The Ambivalence Towards the Motherland´ؤChina --- p.66
Chapter 3.6 --- Discourse on Political Modernization: The Anxiety of Political Subjectivity --- p.86
Chapter Chapter 4 --- The Contradiction of Societal Modernization
Chapter 4.1 --- Prelude --- p.89
Chapter 4.2 --- Looking back at the Pre-modernized Social Order --- p.91
Chapter 4.3 --- Rethinking the Entanglement of the Old and the New --- p.102
Chapter 4.4 --- Representing the Modernized New Social Order --- p.110
Chapter 4.5 --- Discourse on Societal Modernization: The Contradiction of Societal Modernization --- p.123
Chapter Chapter 5 --- The Fragility of Hong Kong Cultural Identity
Chapter 5.1 --- Prelude --- p.126
Chapter 5.2 --- Historical Memories as Cultural Receptacles --- p.128
Chapter 5.3 --- The Spatialized Cultural Consciousness --- p.136
Chapter 5.4 --- Urbanism as the Quality of Hong Kong society --- p.144
Chapter 5.5 --- The Chinese Tradition in Present Day Hong Kong --- p.151
Chapter 5.6 --- The Hybridized Everyday Popular Culture --- p.157
Chapter 5.7 --- Discourse on Cultural Modernization: The Fragility of Hong Kong Cultural Identity --- p.164
CONCLUSION
Chapter 6.1 --- The Planned Tragic Vision in Culture Industry --- p.167
Chapter 6.2 --- The Aestheticization of Social Reality in Culture Industry --- p.171
Chapter 6.3 --- The Demise of the New Wave Cinema in Hong Kong Culture Industry --- p.178
New Wave Cinema: A Listing --- p.182
REFERERNCES --- p.184
Aguayo, Angela Jean. "Documentary film/video and social change: a rhetorical investigation of dissent." Thesis, 2005. http://hdl.handle.net/2152/2232.
Full textMills, Jane Kathryn, University of Western Sydney, College of Arts, and School of Humanities and Languages. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." 2007. http://handle.uws.edu.au:8081/1959.7/19823.
Full textDoctor of Philosophy (PhD)
Comninos, Nicola. "Recollect: home video and the autobiographical self." Thesis, 2015. http://hdl.handle.net/10539/19895.
Full textThis research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa
PAKIER, Malgorzata. "The Holocaust in German and Polish cinema after 1989 and European processes of remembrance." Doctoral thesis, 2010. http://hdl.handle.net/1814/14488.
Full textExamining Board: Prof. Bo Stråth, Supervisor (EUI, University of Helsinki); Prof. Philipp Ther (EUI); Prof. Wlodzimierz Borodziej (Warsaw University); Prof. Frank Stern (Vienna University)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The dissertation examines the role of German and Polish feature films in the Europeanization of the construction of the Holocaust memory. The role of the global media representations in providing foundations for a 'transnational Holocaust memory' was highlighted by Natan Sznaider and Daniel Levy (2002; 2006). However, while the authors of Erinnerung im Globalen Zeitalter concentrated on the international resonance of such Holocaust representations as Steven Spielberg‘s 'Schindler‘s List', my aim is to view the Holocaust films selected here primarily from the perspective of the nationally specific historical debates to which they relate. Employing a comparative perspective, I hope to show a dynamic picture of the role of cinema in current public processes of remembrance in Europe, and examine the ways in which different visions of national and European past clash or interact. The conceptual framework of the dissertation is located at the crossroad of the following areas of intellectual debate: the question of possibility of representing the Holocaust in film and other media; the concept of collective memory and the discussion about film as a legitimate media for historical discourse; historical and public confrontation with World War II and the Holocaust in Germany and Poland since 1945, especially after 1989; finally, the debate about a European identity and the place of the Holocaust within it.
"Domestication of the cultural icon: Chow Yun Fat : from subversion to domination." 2002. http://library.cuhk.edu.hk/record=b5896018.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 231-233).
Abstracts in English and Chinese.
Chapter 1 --- Orientation to Domestication --- p.1
Chapter ´Ø --- Literature Review and Methodology --- p.6
Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7
Chapter ´Ø --- Textual Analysis and Interview --- p.13
Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19
Chapter 2 --- Introduction to the Four Discourses --- p.40
Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46
Chapter 4 --- Domesticating Chow on TV Ads --- p.62
Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83
Chapter 6 --- Overview to Reception Analysis --- p.105
Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114
Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114
Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127
Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141
Chapter ´Ø --- Colonizing the Secure Working Class --- p.151
Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158
Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168
Chapter 10 --- Conclusion --- p.192
Appendix 1: Sample of Interview Questions --- p.197
Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198
Appendix 3: Chow Yun-fat's Filmography --- p.229
Bibliography --- p.231
Alp, Erin Elif. "Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship." Thesis, 2016. https://doi.org/10.7916/D89K49RS.
Full textFruth, Bryan Ray. "Media reception, sexual identity, and public space." Thesis, 2007. http://hdl.handle.net/2152/3214.
Full textKatz, Jacqueline Lee. "Queer entanglements: postcolonial intimacies, spaces and times in Greyson and Lewis's Proteus (2003)." Thesis, 2016. http://hdl.handle.net/10539/20800.
Full textMy dissertation presents a textual analysis of John Greyson and Jack Lewis's South African film, Proteus (2003), which is based on archival records and plots the never-before-told narrative of an intimacy between two inmates on 16th century Robben Island. Locating this same-sex intimacy in the 1700s Cape Colony has far-reaching implications when considered in relation to the increasingly pervasive twenty-first century discourse which proposes that homosexuality is necessarily 'unAfrican'. The film's social and political commentary is, therefore, significant for how we might think about sexuality, among other subjectivities, in post-apartheid South Africa. By analysing the film's formal and thematic attributes, I demonstrate that the directors' protean approach to filmmaking has queering effects for the linear notion of time and the cohesive conceptualisation of identity that the colonial archive tends to reinforce. I suggest that commonsense notions of time, space, language and identity that structure the archive have allowed for multiple fissures to develop along the trajectory from past to present. As I show, the aforementioned process has almost effaced from official records narratives, such as the one told in Proteus, that would trouble totalising ideas about the intimate orientations of certain individuals. Therefore, I argue that while the record of this same-sex intimacy does appear in the archive, it has been subsumed by other, more dominant, narratives. The film's work, which I replicate in my reading of it, has been to queer this archive by foregrounding what has historically been repressed. In my first chapter, I argue that by enacting what Halberstam (2005) terms a mode of 'queer temporality', Proteus carves out spaces in the archive for alternative renditions of history to come into visibility in ways that demand fluidity and heterogeneity. I propose that the strategic filmic mechanisms employed in Proteus necessarily engender nuanced spectatorial procedures, which call on the spectator to engage reflexively with the film. I continue to argue for the spectator's need to be particularly reflexive throughout the dissertation. My second chapter deals with the filmmakers' strategic use of language in order to present a commentary on the material effects that the acts of 'naming' and 'categorising' have on living bodies. The final chapter explores a critical perspective which has not previously been brought to bear on the film. I examine how Greyson and Lewis construct positions for their main characters from which they may assert their subjectivity - what Mirzoeff (2011) describes as 'the right to look'.
Espert, Yasmine. "The Cinema of Social Dreamers: Artists and Their Imaginations Return to the Caribbean." Thesis, 2020. https://doi.org/10.7916/d8-ak8z-pm38.
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