Dissertations / Theses on the topic 'Pictures of the Floating World'
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Nelson-McDermott, Catherine A. "Pictures of a floating world, relocating Bloomsbury." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21611.pdf.
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Dicken, Mary. "George Rochberg’s Ukiyo-e (Pictures of the Floating World)." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1146856287.
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Rosenow, Cecilia L. "Pictures of the floating world : American modernist poetry and cultural translations of Japan /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055709.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-199). Also available for download via the World Wide Web; free to University of Oregon users.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Hopkins, John. "The Floating World." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302255.
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Best, Karen. "A FLOATING WORLD: STORIES." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2070.
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A Floating World is a collection of short stories inspired by fairy tales. Often set in worlds where the mundane and the fantastic come together, these stories explore moments of strangeness that slip beyond the bounds of realist fiction. Fantastical events intrude into mundane reality as characters attempt to reconcile the known with the unknowable.M.F.A.
Department of English
Arts and Humanities
Creative Writing MFA
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Rippey, John. "Woodblock Sonnets and Floating World : reflections on writing 'Woodblock Sonnets'." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656335.
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This essay explores the writing of "Woodblock Sonnets," a poem composed of fifty-six sonnet stanzas. The essay represents a sustained enquiry into this poem's development, from its first inchoate sources and urges, to realization through shape, structure, and artifice. The development of the poem is tracked in five central writing concerns: content, language, form, time, and universality. In each concern, "Woodblock Sonnets" is observed to evolve, over the course of the writing, from more latent and intuitive versions into more manifest and deliberated ones. The poem emerges as creation of inspiration and labor, as both a spontaneously occurring phenomenon and a crafted object. In order to explore the reason of poetry, the accounts of this evolving search for significances are extended into consideration of the advantages which specific poetic practices - image, ekphrasis, rhyme, the sonnet form, and so on - provide a poem. "Woodblock Sonnets" possesses a cross-cultural nature, and the essay explores the poem's unusual fusing of Eastern and Western idioms and sensibilities, as well. "Woodblock Sonnets," the conclusion suggests, takes up the intrinsic interconnectedness of lives - natural and human, past and present, and especially our own lives and those of others, in dimensions that range from the personal to the cultural. The poem demonstrates a primary interest in revealing and interpreting relationships. Poetry, in general, is conceived as an opportunity for fusing the figurative and literal.
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Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.
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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).Thesis (Ph.D.)--School of Humanities, 2004.
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Crilly, Shane Alexander. "'Gods in our own world': representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phc9291.pdf.
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Callan, Tim. "International transmission of economic disturbances : modelling small countries in a floating rate world." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305669.
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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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Clò, Clarissa. "Italy in the world and the world in Italy : tracing alternative cultural trajectories /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3100380.
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Meeuf, Russell W. "Wayne's world : John Wayne, transnational stardom, and global Hollywood in the fifties /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883679191&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Sugiyama, Rose Yukiko. "Espacialidades narrativas: uma leitura de An Artist of the Floating World de Kazuo Ishiguro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18112009-163255/.
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Nesta dissertação, o exame de An Artist of the Floating World, de Kazuo Ishiguro, adota a espacialidade como vetor interpretativo do romance. Ao considerarmos o espaço como um dado estruturante sobre o qual outros elementos narrativos se apóiam e se desenvolvem, apontamos alguns modos de tratamento do espaço na literatura para verificar as formas de sua consecução na obra. Embora o processo de rememoração do narrador protagonista envolva diferentes camadas temporais e espaciais, observamos a existência de um espaço primordial, a partir do qual todos os demais espaços são desdobrados, atuando como uma fonte de sentidos para as experiências vividas pelo protagonista. Pautada por sobreposições espaciais cujas camadas estabelecem relações de complementaridade, a narrativa cria um adensamento na significação dos eventos, dos conflitos e dos papéis vividos pelos personagens. Por meio de tais relações e na perspectiva das considerações críticas de Luis A. Brandão, Georges Poulet e Michel Foucault, buscamos analisar o espaço que rege este romance em suas funções e características heterotópicas.This dissertation examines An Artist of the Floating World by Kazuo Ishiguro through the category of space. Spatiality is considered a structuring element over which other narrative aspects develop. Some literary ways of space treatment are pointed out in order to verify how they function in this novel. The existence of a primordial space, through which all the other narrative spaces are unfolded, is observed as a source of meanings for the protagonists experiences, even though his process of remembrance implies different levels of time and space. Oriented by spatial superposition, whose levels establish complementary relations, the narrative creates a density of meanings, conflicts, and characters roles. Scrutinizing these relations and considering the critical approaches presented by Luis A. Brandão, Georges Poulet, and Michel Foucault, this dissertation analyses the space that rules this novel in its role and heterotopic features.
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Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.
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Matzkin, Rosalie Greenfield. "The film encounter in the life-world of urban couples : a uses and gratification study /." Access Digital Full Text version, 1985. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10538483.
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Maggs, David. "Artists of the floating world : rethinking art/sustainability relations in the late days of modernity." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46995.
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This research is an attempt to reroute art-sustainability relations through the metaphysical juncture of Modernism’s fading dichotomies, i.e. fact-value, subject-object, culture-nature. For many this relationship has fallen short, particularly in the form of infocentric, instrumental engagements aimed at behaviour change. But if we read sustainability as a problem of worldview and artistic agency as ontological in nature, might something more promising emerge? To explore this, four artists were commissioned to produce work in response to an analysis of sustainability built around Bruno Latour’s ‘Modern Constitution’. The interests were twofold, to investigate the challenge of engaging art’s ‘ontological agency’ in light of prior art-sustainability frustrations; and to explore practical and ontological dimensions of operating ‘beyond’ the dichotomies of Modernity.
The first interest concerns the prescriptive challenge of artistic agency—how do we ‘use’ art? Outcomes include the following explorations: A distinction between art’s behavioral and ontological agencies; a proposed category of ‘artistic ontologists’ to house scholarship aligning ontological agency with aesthetic, expressive, and imaginative priorities; a view of art as ‘double agent’, necessarily ‘of’ and ‘against’ encompassing rationalities; and the argument that a healthy view of art is fundamentally epistemological, a means to learn not teach.
Regarding a ‘post’ Modern or ‘post-normal’ world, this research proposes to shift sustainability from the well-worn challenge to prove the world real to the more perplexing challenge to prove the world imaginary. This entails a shift from ‘substantive’ approaches to sustainability (facts drive values) to ‘procedural’ approaches, where sustainability emerges from the interactions of immanent human and non-human agencies. Practical concerns include structuring emergent dynamics within collective processes and shifting expertise accordingly. Ontological dimensions explore particular ‘qualities of immanence’ that might shape our imaginings in fruitful ways, while pursuing a genuine exit from Modernity nonetheless. Building on Mike Hulme’s arguments, I suggest sustainability in an imaginary world involves ‘flipping the sustainability predicate’, turning a problem we are trying to solve into one that solves us. This engages John Robinson’s work on ‘regenerative sustainability’ by arguing that regenerative approaches may not only be more compelling, but increasingly in line with emerging logics of a post-normal world.
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Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).
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Chang, Hsin-Ning. "Viewing the Long Take in Post-World War II Films: A Cognitive Approach." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.
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Chiu, Hsiao-Chiao. "An island of the floating world : kinship, rituals, and political-economic change in post-Cold War Jinmen." Thesis, London School of Economics and Political Science (University of London), 2017. http://etheses.lse.ac.uk/3472/.
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During the Cold War era, the island of Jinmen was the frontline of the Republic of China in its military standoff with the People’s Republic of China. From 1949 to 1992, the life of the islanders was profoundly disturbed and altered by wars and militarization generated by the bipolar politics. Despite this, the localized patrilineages dating from imperial times remain central to the organization of local social life. Grounded on fifteen months of fieldwork in a patrilineal community, this dissertation demonstrates the significant roles of kinship and kinship-related rituals in sustaining the local social fabric through turmoil and uncertainty during and after the Cold War. The first part of this thesis focuses on lineage ancestral sacrifices, domestic worship, and funerals. The continuation of rituals that sustain patterns of interpersonal relationships is argued to constitute a means of negating the destruction of social order experienced in the period of military control and conflict. Yet, against the background of these ritual continuities, the thesis also examines how they have been adapted to shifting circumstances, such as the involvement of military and political authorities in folk ritual practices as a means for securing their legitimacy, and the material changes in rituals that have accompanied rapid commercialization from the 1990s. The second part focuses on the impact of the Cold War on local political and economic life and state-society relations. Despite some salient changes, the ways that people define their social roles and relate to one another are shown to have remained largely framed by values and morals from the sphere of kinship. Kinship therefore actually continues to constitute a distinctive feature of the local political-economic structure, countering an often-seen formula assuming causal relations between the dramatic political-economic changes and the declining role of kinship or “traditional” values in orienting people’s life and action.
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McDiarmid, Tracy. "Imagining the war /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.
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Park, Chung Hoon. "Ode to the Temple of Sound, Floating World-Ukiyo and Meditation on Zeami: An Analysis of Three Works by Alan Hovhaness." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/98.
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This essay, through a thorough examination of primary and secondary sources, presents analyses of three orchestral works from Hovhaness' "fourth-period," a period of time spanning approximately ten years, from 1960 to 1970. This essay focuses on three works from this period: Meditation on Zeami, Floating World, and Ode to the Temple of Sound, written in 1963, 1964 and 1965, respectively. This essay gathers information from various primary and secondary sources in order to provide performers who are preparing works from this period with a single source of information, bringing clarity to theoretical and musicological problems. Analyses of this sort are made all the more necessary by the fact that there are currently no extant recordings of any of the works being studied here, and that two of the works, Meditation on Zeami and Floating World, have never been commercially recorded. Without an aural precedent and guide to follow, analyses of these musics will be a welcome resource for the conductor preparing a performance.
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Sawada, Keiji. "From The floating world to The 7 stages of grieving the presentation of contemporary Australian plays in Japan /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/13213.
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Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005.Bibliography: p. 274-291.
Introduction -- The emergence of "honyakugeki" -- Shôgekijô and the quest for national identity -- "Honyakugeki" after the rise of Shôgekijô -- The presentation of Australian plays as "honyakugeki" -- Representations of Aborigines in Japan -- Minorities in Japan and theatre -- The Japanese productions of translated Aboriginal plays -- Significance of the productions of Aboriginal plays in Japan -- Conclusion.
Many Australian plays have been presented in Japan since the middle of the 1990s. This thesis demonstrates that in presenting Australian plays the Japanese Theatre has not only attempted to represent an aspect of Australian culture, but has also necessarily revealed aspects of Japanese culture. This thesis demonstrates that understanding this process is only fully possible when the particular cultural function of 'translated plays' in the Japanese cultural context is established. In order to demonstrate this point the thesis surveys the history of so-called 'honyakugeki' (translated plays) in the Japanese Theatre and relates them to the production of Western plays to ideas and processes of modernisation in Japan. -- Part one of the thesis demonstrates in particular that it was the alternative Theatre movement of the 1960s and 1970s which liberated 'honyakugeki' from the issue of 'authenticity'. The thesis also demonstrates that in this respect the Japanese alternative theatre and the Australian alternative theatre of the same period have important connections to the quest for 'national identity'. Part one of the thesis also demonstrates that the Japanese productions of Australian plays such as The Floating World, Diving for Pearls and Honour reflected in specific ways this history and controversy over 'honyakugeki'. Furthermore, these productions can be analysed to reveal peculiarly Japanese issues especially concerning the lack of understanding of Australian culture in Japan and the absence of politics from the Japanese contemporary theatre. -- Part two of the thesis concentrates on the production of translations of the Australian Aboriginal plays Stolen and The 7 Stages of Grieving. 'This part of the thesis demonstrates that the presentation of these texts opened a new chapter in the history of presenting 'honyakugeki' in Japan. It demonstrates that the Japanese theatre had to confront the issue of 'authenticity' once more, but in a radically new way. The thesis also demonstrates that the impact of these productions in Japan had a particular Japanese cultural and social impact, reflecting large issues about the issue of minorities and indigenous people in Japan and about the possibilities of theatre for minorities. In particular the thesis demonstrates that these representations of Aborigines introduced a new image of Australian Aborigines to that which was dominant amongst Japanese anthropologists.
Mode of access: World Wide Web.
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Melberg, Alexandra, and Tilde Gustafson. ""And the World has Somehow Shifted." : En kvantitativ studie av genuskonstruktioner i Walt Disney Pictures animerade långfilmer." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36176.
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The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.
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Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.
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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.
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Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.
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Garcia, Sarah C. "We Are Individuals: Librarians’ Demonstration of Individuality on the World Wide Web." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/271.
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This study examines a sample of websites created by librarians on the World Wide Web. The websites were analyzed to see how librarians are discussing and presenting themselves on the World Wide Web in the attempt to escape the traditional stereotype. An analysis of these websites revealed that librarians are not trying to completely escape the stereotype but rather to prove that all librarians are individuals outside of their profession.
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Stull, Gretchen Brinson Susan L. "It's a man's world representations of gender and competing ideologies in ""Shaun of the Dead /." Auburn, Ala., 2008. http://hdl.handle.net/10415/1542.
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Hartwig, David W. "The place of Shakespeare : performing King Lear and The tempest in an endangered world." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3909/.
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This thesis brings ecocriticism to Shakespearean performance through an examination of adapted performance worlds. Studying cinematic and theatrical productions of Shakespeare’s King Lear and The Tempest, it develops a strategy of ecopoetic analysis: a critical approach to the creation of worlds in the process of adapting a play for performance. This work developed out of my own environmentalism and experience in performing Shakespeare’s works. My goal is to develop a critical strategy for examining performance that utilises the tools of ecological criticism and furthers the fields of performance studies and ecocriticism. Ecocriticism modifies the scientific analyses performed by ecologists for looking at works of art. Beginning with the principal that everything is connected to everything else, ecocritics focus on the interactions between elements of a work, the interactions between the work and the world at large, and between the work and its audience. I examine the cultural context of a work, other landmark works with which it engages intertextually, and the reactions of original audience members, especially journalistic and academic reviewers, in order to ascertain how an individual production adapts a Shakespearean play to a new environment. I found in my analyses that Shakespeare’s works are particularly fertile ground for an ecopoetic analysis. Directors, in their efforts to keep his work relevant to a modern audience, frequently adapt and alter the worlds of Shakespeare’s plays in their productions. My ecopoetic approach to these productions reveals the ways in which the performances engage their audience, providing a better understanding of how to increase participatory spectatorship. I also found that this approach reveals underlying engagements between individual productions and the culture out of which they grew, and that the construction of performance environments is tied to cultural conceptions of the natural world. Finally, I discovered that Shakespeare’s works are an international language for performance, with adapters around the world experimenting with his plays in order to further the effectiveness of theatrical and cinematic production. As such, they are a logical place in which to formulate a new method of performance criticism, one which engages the world of the performance, the context of the production, and the audience that experiences the performance world. This thesis confronts numerous difficulties, including the fact that ecocriticism does not provide a critical apparatus as such, but is a politically-inspired way of viewing works. As such, I develop a more rigourous method of analysis, applying the tools of ecological science (interconnectedness, ecosystems, and adaptation), and the ethos of a modified phenomenology of performance criticism, to the worlds of performances. The crucial confrontation in my work is between nature and culture. I argue that the two are mutually constructing, and that performance occupies a place in which the two meet and interact and is thus the ideal ecosystem in which to investigate the interactions between culture and nature. Our world is endangered, the effects of global climate change and pollution are potentially catastrophic for us all. The issues that we face, the relationship between our human culture and our natural world, are dramatised in the works that I examine. The ecopoetic model of analysis that I develop can be applied to a greater variety of performance works, and this critical methodology is paramount for understanding the world and our place within it.
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Sakai, Junko. "Narrating our cultures in the floating world : working lives in Japanese banks in the City of London since the 1970s." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361015.
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Yaquinto, Marilyn. "POLICING THE WORLD: AMERICAN MYTHOLOGIES AND HOLLYWOOD'S ROGUE COP CHARACTER." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143469295.
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Mahdaviani, Bita. "Towards the legitimation of cinema : coverage of urban entertainment in the Toronto World and the Globe, 1896-1920." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33913.
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This thesis stems from a general interest in press coverage of culture industries and products and the ways in which it links them to contemporary social and political concerns. The present project specifically takes The Globe and The Toronto World, two of the major daily newspapers of Toronto, as its combined object of analysis. It selects particular events and periods during the emergence of early film as popular amusement as the contexts for the study of articles, reports, columns, and editorials that centred around urban cultural issues as well as cinema. It explores the extent to which these particular events and periods figured in the papers' attention upon the new medium and its place in the everyday life of the city. These contexts were selected with an assumption of their newsworthiness for the daily press. However, upon examination it became evident that, while the majority of them did produce a concentrated attention in both dailies, not all of them did. Still, because they instantiated profound shifts in urban entertainment at the turn of the century, they were kept as historical backgrounds for the analysis of the newspapers's construction of modern culture. (Abstract shortened by UMI.)
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Johansson, Monique. "The Colonizer and the Colonized in Kazuo Ishiguro's Novels, An Artist of the Floating World and The Remains of the Day." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18228.
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This essay investigates the colonized self in Kazuo Ishiguro’s An Artist of the Floating World and The Remains of the Day, by analyzing the novels from a postcolonial perspective. Furthermore, it discusses how and why Masuji Ono and Mr. Stevens are affected by Japanese imperialism and British colonialism. Through a close reading of the novels, this essay argues that the protagonists are ‘colonized’ by their own countries, and eventually also ‘imperialized,’ or influenced, by America following the Second World War. Ono is ‘colonized’ by his colleague Matsuda, while Mr. Stevens is ‘colonized’ by his employer, Mr. Darlington. Later on, they are both ‘imperialized’ through the American occupation and influence.
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Zetterberg, Emil, and Emil Petersson. "Den prestigefyllda bildens skådespel : En historisk jämförelse av World Press Photo of the Year." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49417.
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The aim of our study was to examine which news images the media industry choose to reward. The World Press Photo Awards is an anual competition in which a jury of professional photo journalists appoints a winner among over 90 000 contributions. We have studied twelve pictures that have won World Press Photo of the Year over the time span of six decades to explore the characteristics of the winning pictures, but also to give a perspective over time. For the purpose of our study, we took a closer look at the roles of the people in the pictures, as well as the attributes and contexts related to them. Our findings indicate that myths seem to play a central part in the telling and retelling of stories. The tradgedy of human lives is a reoccurring element, and the people are in most cases depicted in a negative context. The story of the victim, for example, was common in the winning pictures. We could see that civilians frequently appears in photographs, especially suffering children who often stands as a symbol of weakness. As connected to the mishap of people, our research found similarities to other studies focusing on how news stories speak to our compassion and emotions.
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Randell, Karen Mary. "Hollywood and war : trauma in film after the First World War and the Vietnam War." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50596/.
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This thesis examines war trauma in film; it is a comparative reading that aims to study the relationship between films made after the First World War in the 1920s and films made during and after the Vietnam War. I use thirteen focus film texts, some which explicitly engage with war and some that do not. This thesis will argue that the production of these particular films was inflected by the collective trauma that the wars produced in American society. There was not, for example, an explicit combat film made for seven years after the First World War and thirteen years after the Vietnam War. This gap, I will argue, is symptomatic of the cultural climate that existed after each war, but can also be understood in terms of the need for temporal space in which to assimilate the traumas of these wars. An engagement with recent debates in Trauma Theory will be utilised to explore this production gap between event and film, and to suggest that trauma exists not only within the narratives of these focus films but also within the production process itself. This thesis contributes significantly to recent debates in Trauma Studies. As it presents film history scholarship, First World War and Vietnam veteran experiences and archive newspaper research as compatible disciplines and uses the lens of trauma theory as a methodological thread and tool of analysis.
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Jacobs, Jillian Kathleen. "It’s a Fanboy’s World: How Cinephile Blogs Perpetuate a Sexist Hollywood." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1285035004.
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Mitchell, Alexandre G. "Comic pictures in Greek vase painting : humour in the polis and the Dionysian world in the sixth and fifth centuries B.C." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248968.
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Gebacz, Chloe C. "Why So Short?: The Changing World of the Short Film Industry and Online Distribution." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429898301.
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Johnston, Jacob H. "The Sherwood Method creating an independent Christian feature film /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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Jordan, James. "Bearing witness to the Holocaust in the courtroom of American fictive film." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50607/.
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From the first post-war trials to the recent libel trial in the London High Court brought by Holocaust denier David Irving against Penguin Books and American academic Deborah Lipstadt the real-life courtroom has provided more than a legal judgment in respect of the Holocaust. As legal scholar Lawrence Douglas has shown in The Memory of Judgment: Making Law and History in the Trials of the Holocaust (2001), this formal, institutionalised and controlled setting has also been the forum for an increasingly nuanced, often intentionally pedagogic, examination of the Holocaust. After nearly sixty years of trials there is a corpus of judicial proceedings that chronicles not only society's desire for justice but also the changing understanding of the Holocaust, how it is remembered and how that memory is to be safeguarded. Analogous to this sequence of trials, American film has consistently utilised the law and the dialectic of the courtroom in its own attempts to represent, understand and explain the horror of the Holocaust, hi this thesis I provide a cultural history of these films (a generic term that encompasses both cinema releases and television movies/miniseries) to examine how the depiction, pertinence and understanding of the Holocaust in American life have altered since the 1940s. It is a thesis grounded in the tension between film and history as it explores how the fictive courtroom has represented the real-life trials as well as the Holocaust. This explores how the cinema has used different strategies of representation to bear witness in the cinematic courtroom to an event which is said to defy representation. In conclusion it argues that the courtroom is a setting with its limitations in respect of Holocaust representation, but it is these very limitations which are the reason for the courtroom genre's continued appeal.
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Nakao, Tomyo. "The representation of Japan in British POW films of the 1950s." Thesis, University of Essex, 2015. http://repository.essex.ac.uk/16055/.
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This thesis analyses the formation of images and representations of Japan in British films of the 1950s. Japan's image changed drastically during and after World War II, as knowledge of Japan's maltreatment of prisoners of war (POWs) became known. The thesis considers four films and the novels or scripts from which they were made: The Wind Cannot Read (both David Lean's and Ralph Thomas's version), A Town Like Alice, The Bridge on the River Kwai, and The Camp on Blood Island. This study shows how film became a venue for expressing untold experiences and the battle over 'proper' representations of both the POWs themselves and the Japanese Army. Japan's side is more sympathetically addressed in Lean's work; those critical of the country are represented in Alice. A film that led to greater intervention related to Japan's point of view was Kwai, aspects of which were extended, and others overturned, in a subsequent horror film (Blood Island). As further argued here, Japan as an (ex) enemy often assumes a feminine or demonised form in these texts, and sometimes blurs with the Nazi image. Generally, the West portrays the 'Other' as hostile male or available female, while Japanese women in Thomas's Wind are frequently presented as insensitive. This thesis further reveals that Japan's envoys endeavoured to present the country as a trustworthy state before the United Nations in an attempt to inhibit the circulation of negative images, while Britain, in the process of reconfiguring rapidly changing relations to its colonies and ex-colonies, tried to present itself as a new Empire with its Commonwealth. These studies of representations of Japan are examined in the context of oral histories of those who lived in the POW camps, showing how each experience interacts with the ways Japan, as the (former) captors, was represented.
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Stenström, Philip, and Hampus Jansson. "I skuggan av mediernas renommé : En kvalitativ textanalys av krigsfotografier premierade i World Press Photo of the Year." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53423.
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The aim of our study was to examine war pictures rewarded by the prominent foundation World Press Photo. Direct and indirect the foundation displays pictures to Western audience, pictures that are considered prestigious and current by the foundation itself. The image of World Press Photo and the editorial staff behind the organization therefore reflect how the West perceives current events in the world. Hereby, knowingly and unknowingly the foundation contributes to construct and reproduce everlasting pictures of important events. By examining how pictures are constructed and to ascertain what resemblances and differences that pictures of the Vietnam War as well as modern wars and conflicts contain, we consequently investigated eight war pictures awarded by the foundation World Press Photo. Our findings indicate that these war pictures offer emotional aspects like compassion and suffering. In addition, several photos provide notion of a postcolonial perspective of us and them. Our results also display that the awarded war pictures.
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An, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.
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The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.
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McDiarmid, Tracy. "Imagining the war / imagining the nation : British national identity and the postwar cinema, 1946-1957." University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0054.
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[Truncated abstract] Many historical accounts acknowledge the ‘reverberations’ of the Second World War that are still with the British today, whether in terms of Britain’s relationships with Europe, the Commonwealth, or America; its myths of consensus politics and national unity; or its conceptions of national character. The term ‘reverberations’, however, implies a disruptive, unsettling influence whereas today’s popular accounts and public debates regarding national identity, more often than not concerned with ‘Englishness’ as a category distinctive from ‘Britishness’, instead view the Second World War as a time when the nation knew what it was and had a clear understanding of the national values it embodied a time of stability and consensus. This thesis demonstrates that, in the postwar period, ‘British’ was not a homogeneous political category, ‘Britishness’ was not a uniformly adopted identity, and representations of the nation in popular cinema were not uncontested. British national identity in the postwar 1940s and 1950s was founded upon re-presentations of the war, and yet it was an identity transacted by class, gender, race and region. Understandings of national identity ‘mirrored’ by British films were influenced by the social and political context of their creation and reception, and were also a reflection of the cinema industry and its relationship to the state. Both ‘national cinema’ and ‘national identity’ are demonstrated to be fluctuating concepts dominant myths of the war were undermined and reinforced in response to the demands of the postwar present.
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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.
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Turković, Dajana. ""Death to all fascists! liberty to the people!" : history and popular culture in Yugoslavia 1945-1990." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99611.
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This essay analyzes the changing portrayal of Yugoslavia's World War II experience in music, film, and literature. It argues that the disappearance of unifying themes from the cultural sphere opened the doors to the popularization of controversial and divisive subjects. Shifting perceptions of how Yugoslavs fought and survived the Second World War contributed to the destruction of Yugoslavia.The first chapter focuses on World War II in Yugoslavia. The second chapter discusses the early development of Yugoslav culture and its dependence on the Second World War. The third chapter follows the development of Yugoslav culture through the 1960s and 1970s when political liberalization promoted greater freedom in the arts. Aside from inspiring artists to address new themes and approach old themes from a fresh perspective, it also permitted the stirrings of political dissent. The fourth chapter addresses the disappearance of the Yugoslav idea from the cultural realm during the 1980s.
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Haft, Alfred. "Patterns of correspondence between the floating world and the classical tradition : a study of the terms Mitate, Yatsushi and FuÌ?ryuÌ? in the context of Ukiyo-e." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417910.
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Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.
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Tahir, Muhammad Naveed. "Essays on Inflation Dynamics and Monetary Policy in a Globalized World." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO22025/document.
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L’objectif de cette thèse est d’analyser l’effet de la globalisation sur la dynamique de l’inflation et sur la politique monétaire dans un monde de globalisation. Cette thèse porte 3 chapitres :Dans le premier chapitre, nous nous intéressons à l’impact de la globalisation financière sur le comportement du ciblage d’inflation dans les pays émergents, avec une attention particulière portée au taux de change : la Banque centrale répond-elle aux mouvements du taux de change ? Nous nous sommes basés sur des données trimestrielles de six pays émergents qui pratiquent la politique de ciblage d’inflation, depuis la date de l’adoption de cette dernière, jusqu’au dernier trimestre 2009 (2009 Q4). L’étude se base sur un modèle de petite économie ouverte néo-Keynésien à la Gali et Monacelli (2005). Nous utilisons un estimateur GMM à équations multiples pour analyser la relation. Les résultats nous montrent que la réponse de la Banque Centrale au taux de change est statistiquement significatif dans le cas du Brésil, du Chili, du Mexique et de la Thaïlande. En revanche, elle ne l’est pas pour la Corée ni pour la République Tchèque. Théoriquement, le résultat ne devrait pas être significatif même avec un ciblage d’inflation flexible où la banque centrale répond aux écarts d’inflation et de production.Nous pensons que les caractéristiques particulières des pays émergents, telles que la peur du flottement “fear of floating”, le manque de développement du système financier ainsi qu’un manque de crédibilité de la banque centrale, expliquent cette préoccupation des banque centrales pour les variations de change. Dans le deuxième chapitre, nous étudions d’une façon empirique l’importance relative des canaux de transmission de la politique monétaire pour le Brésil, le Chili et la Corée. Cette partie se base sur des données mensuelles depuis l’adoption du ciblage d’inflation jusqu’à décembre 2009 (2009 M12). Nous utilisons un modèle SVAR, en incorporant les principaux canaux de transmission monétaire simultanément au lieu de les considérer séparément. Les résultats empiriques indiquent que le canal de taux de change ainsi que canal du prix des actifs ont une importance relativement plus élevée que le canal du taux d’intérêt traditionnel ou le canal du crédit pour la production industrielle. Les résultats sont très différents dans le cas de l’inflation, à l’exception de la Corée. Le classement élevé canal du taux de change et du canal du prix des actifs correspondent aux résultats de Gudmundsson (2007) : le canal du taux de change pourrait avoir pris une importance grandissante avec la développement de la globalisation financière.Dans le troisième chapitre, nous étudions empiriquement le rôle de l’ouverture - réelle et financière - sur la dynamique de l’inflation au Brésil, Chile en Corée du Sud. L’étude se base sur des données mensuelles, depuis l’adoption du ciblage d’inflation jusqu’à décembre 2009. Dans ce dernier chapitre, nous utilisons méthode de moments généralisée (GMM). Le ratio Importation sur PIB est considéré comme étant l’indicateur de l’ouverture réelle. En ce qui concerne l’ouverture financière, nous considérons alternativement l’indice de Chinn et Ito (KAOPEN) mesurant le degré de libéralisation des opérations sur le compte financier, et l’indicateur proposé per Lane et Milesi-Ferreti (2009).Nous concluons dans ce chapitre qu’il existe en général une relation positive entre l’ouverture réelle et l’inflation. En ce qui concerne l’ouverture financière, les résultats sont moins tranchés et dépendent largement de l’indicateur utilisé pour mesurer l’ouverture financièreThe aim of this thesis is to analyze the impact of globalization on the dynamics of inflation and monetary policy in a globalized world. It consists of three essays.In the first essay we investigate the impact of financial globalization on the behaviour of inflation targeting emerging market economies with respect to exchange rate – Do central banks respond to exchange rate movements or not? We use quarterly data for six emerging market inflation targeting economies from the date of their inflation targeting adoption to 2009 Q4. The chapter uses small open economy new Keynesian model à la Gali and Monacelli (2005), and employs multi-equation GMM technique to investigate the relationship. We find that the response of central bank to the exchange rate in case of Brazil, Chile, Mexico and Thailand is statistically significant while insignificant for Korea and Czech Republic. Theoretically, it should not be so as even under flexible inflation targeting central bank responds to inflation deviation and output gap; we think that the peculiar characteristics of emerging markets, like fear of floating, weak financial system and low level of central bank credibility make exchange rate important for these economies. In the second essay we investigate empirically the relative importance of monetary transmission channels for Brazil, Chile and Korea. This chapter uses monthly data from the inception of inflation targeting regime to 2009 M12. We use a SVAR model incorporating the main monetary transmission channels combined together instead of individual channels in isolation. The empirical results indicate that the exchange rate channel and the share price channel have higher relative importance than the traditional interest rate and credit channel for industrial production. The results are not much different in case of inflation, except for Korea. The high ranking of exchange rate and share price channel is in line with the results by Gudmundsson (2007), which finds that exchange rate channel might have overburdened in the wake of financial globalization.In the third chapter we investigate empirically the role of openness – real and financial – on the inflation dynamics of Brazil, Chile and Korea. The chapter uses monthly data from the inception of inflation targeting regime to the end month of 2009. In this chapter we employ the Generalized Method of Moments (GMM) technique. We use imports to GDP ratio as an indicator for real openness whereas Chinn and Ito index (KAOPEN) and total assets plus total liabilities to GDP ratio form the data set of Lane and Milesi-Ferretti are two proxies for financial openness. The chapter concludes that there exists, generally, a positive relationship between real openness and inflation. However, in case of financial globalization the results are inconclusive as they are sensitive to measurement method of financial globalization
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Mullins, Michael Bryan. "Hildegard On Rubble Mountain." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.
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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.