To see the other types of publications on this topic, follow the link: Production and direction.
Dissertations / Theses on the topic 'Production and direction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Production and direction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Hilliard, James Patrick. "The elements of filmmaking." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.
Full textAbstract:
Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.
2
Chiu, Wen-Chi. "Mr. Hassell: The TV Engineer." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935652/.
Full textAbstract:
This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.
3
Joy, Ronald Dean. "Kelli and the misfits." CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/344.
Full text
4
Lee, Who Jeong. "Art direction and scenic design for a production of Sleep Deprivation Chamber." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327946322.
Full text
5
Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.
Full textAbstract:
This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
6
Lacaze, Gerowyn. "Negotiating meaning : a handbook for performance direction for the screen." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35846/1/35846_Lacaze_1999.pdf.
Full textAbstract:
The purpose of this study is to investigate directing, especially from the perspective of a director's relationship with actors. It is intended as a resource
for beginning film makers, including an investigation of current beliefs and practices of both experienced and beginning directors, a workbook of exercises, a documentary illustrating these techniques and a short film that exemplifies performance gained through adherence to a selection of these techniques.
The key focus of this study is to produce a resource that aims to give directors an understanding of possible approaches to facilitating productive actor -
director relationships. It deals with techniques that relate specifically to one of their human resources - the actors. Developing performance in actors assists directors to enhance the integrity of their films, empowering them through a shared language that effectively communicates with actors. Individuals wishing to work as film and television directors require an understanding of the craft of acting and how it fits in this medium. Specifically, they need to demonstrate conceptual originality and logistic viability while harnessing the diverse talents and skills of a creative team. Therefore, directors need to speak a common language, which draws together the interpretative skills of this team. This study aims to develop skills in communication with actors.
7
au, S. Tampalini@murdoch edu, and Sergio Tampalini. "Affective space (looking back)." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.
Full textAbstract:
You cant be a rationalist in an irrational world. It isnt rational Joe Orton 1
It may be argued that a historically accepted model of an academic career begins with having completed a PhD and in so doing identifying a body of theory that will inform and constitute ones practical academic work. While it may be an accepted model it does not necessarily take precedence as the only model. The relationship between theory and practice is symbiotic and as such it is possible, and indeed at times desirable, that practice inform theory. It is not advisable to be solely operating from a position of theory when making creative work; the risk is far too great.
The gravitational force of theory can all too easily disturb the fragile innocence of creativity. Pulled and constrained by the logic of theory the work risks becoming too didactic and its creativity sacrificed for the sake of rationalism
a symptom almost diagnostic of our culture.
I appreciate that the term creative is open to a plethora of readings, each with their own cogent claim to usage. When I employ the term I am referring to a particular type of decision-making process involved in the solution of problems. I will argue that a creative decision differs from other types of decisions [such as, practical or scientific] in the way the resultant solution of the problem remains open to a greater number of potential readings. I will also argue that it is precisely in those heuristic moments of potential impasse, often associated with a problems resolution, where creativity hangs out.
In any creative venture, I have always been guided by the importance and significance of doing2
in the doing is the theory. This is not meant to dismiss theory but simply to see it in much the same way as when we see objects in our peripheral vision. Just as objects in our peripheral vision do not take their place in our visual field3, theory [for me] participates in creative processes by subconsciously serving as an early guiding system that helps monitor the work. In this age of information we are no longer innocent of theory -it is ineluctable. What is crucial is that we have a command of theory in order that we may go through it and regain our creative innocence. If we do not, we only achieve an artificial innocence born of enthusiasm, exuberance and imprecision. Creative innocence is re-found in doing. This assertion conceives of theory as participating as part of a creative subconscious and goes someway towards explaining the sudden epiphany of understanding that is frequently associated with prolonged and intense work, or the immense pleasure at retrospectively recognising the theory that seemed to have informed ones work without being conscious of it -as if the theoretical component had always been there. This phenomenon is of fundamental concern to my thesis, especially when considering the theatre productions that constitute my creative oeuvre. Upon close inspection, my works ultimately reveal that the defining distance between a visceral creative decision [one whose manifestation is immediately felt as apposite] and one that is conceptualised as the illustration of a theory, is not that great
I just happen to begin working outside of the brackets of theoretical narration.
Throughout my thesis I will refer to all visuals as images but I will argue that there are specific types of images, namely signs, symbols and metaphors.
In language the term image can imply more than a verbal description of a purely visual experience; it can also mean the metaphoric, ornamental, rhetorical figurative use of language as opposed to its literal use. 4
For the surrealists image meant more than the representation5 of an external thing in the material world, it also meant the revelation of an internal mental state, a psychological verity occluded from consciousness.
Images [of this kind] were incandescent flashes linking two elements belonging to categories that are so far removed from each other that reason would fail to connect them and that require a momentary suspension of the critical attitude in order for them to be brought together. 6
Having already built a body of practical work [spanning thirty years] the challenge was to see if it was possible to identify a coherent theory that consistently functioned as the catalyst of the work - albeit disparate in its nature. The analytical process proved to be the reverse of that which may be observed in the historically accepted model of academic discourse
where the process is cumulative. In this instance the process was deductive -a forensic assignment akin to tracing the diverse creative elements to their creative source or motivation. The venture proved illuminating in much the same way as when one is asked to crystallise a complex theoretical argument; you have to reinvent the argument in a way that helps to simplify its complexity without attenuating its integrity -a complexity that is well known to you but that eludes the uninitiated reader.
Whenever I try and think about my theatre practice I am vexed -particularly when I filter my own experiences and try and extract the meanings that seem genuinely inherent in them. At first glance it is satisfying because of a sense of coherence or pattern in a whole host of discrete events. However a closer inspection quickly reveals the fractal complexity of the pattern and demands a reappraisal of how we see and decipher it. Any attempt to understand its disparate nature by investigating one part in isolation from the whole proves initially unsatisfying and finally futile, for each part seems to be informed by and refer to other parts, as if participating in a greater organising principle; a principle that resists traditional cartography; one that is best seen as one sees the earth from outer space.7 When the earth is seen from outer space one becomes aware of the greater organising principle [the universe] within which it functions. Similarly it is only when the topology of my work is seen from a distance that its coherence is apparent
the further away one is, the more clearly one recognises its constituent parts.
Despite our desire to lose ourselves in the living depths of a work, we are constrained to distance ourselves from it in order to speak of it. Why, then not deliberately establish a distance that will reveal to us, in a panoramic perspective, the surroundings with which the work is organically linked? 8
When I am in the middle of a theatre production, I have only the slightest idea of how it will end; I trust in the doing, and at the end I am always surprised by what I have created. Ambiguity and paradox and consequently indeterminacy ultimately emerge as the common features of my work; they appear as sign posts that mark a way of finally mapping it. Each individual piece of work remains coherently intact despite its seemingly obscure coalescence with others, but it is when the works intersect at these points of commonality that one may observe the greater organising matrix.
The phenomenological world is not a pure being, but the sense which is revealed where the paths of my various experiences intersect, and also where my own and other peoples intersect and engage each other like gears. 9
If the most unrelated things share a place, time, or odd similarity, there develop wonderful unities and peculiar relationships and one thing reminds us of everything. Novalis 10
8
Capretta, Roberto. "The complexity of sound design and operations for television production." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22537.
Full textAbstract:
The following thesis is an examination of audio engineering for television broadcast production. The extensive sound design, implementation, and production of television programming are to be examined from the perspective of four individual productions of diverse genres. A variety of skills necessary to produce each of the programs are discussed in detail.
9
Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.
Full text
10
Beaufort, Philippe. "Le projet de l'action créatrice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25380.pdf.
Full text
11
Hatton, William 1972. "Disturbing the Peace." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279223/.
Full textAbstract:
Disturbing the Peace is a short, 16mm sync-sound fiction film. Alone one stormy night, a woman must contend with an intruder breaking into her home. The intruder turns out to be a teenage boy. He claims to have broken in only to retrieve a family heirloom he hid there when he and his parents lived in the same house years ago. When the boy finds the heirloom, the woman begins to believe his story, and soon realizes he doesn't have a good home life. The boy asks permission to stay until the storm breaks. She agrees. Should the boy be trusted, or is he telling one lie after another? The police arrive to witness the outcome of the story.
12
Muir, Pete. "The art of the record producer." Thesis, Queensland University of Technology, 1999.
Find full textAbstract:
The record producer has played an extensive role in the development of music aesthetics since the 1950's yet has remained virtually anonymous, save for a few notable
exceptions. In this time, producers have developed an art form that exists within the design, capture and rendering of sound. This art form is distinct from the music composition and performance and should receive appropriate acknowledgment. This paper identifies the defining factors of art. These elements are explored through theoretical and practical discussions to establish the artistic contributions of the producer.
Through the use of technique - the producer's craft in recording technology, and through the use of form - the producer's design of various layers of recording from
composition to mastering, they control the artistic outcomes of the record, which ultimately impact aesthetically on the listener. Therefore the producer is indeed an artist.
13
Choo, Christina. "Trend of thought : inspirations for a form of non-linear direction." Thesis, Queensland University of Technology, 2005.
Find full textAbstract:
This is an exegesis, investigating the concept of trend of thought, as a motivation influencing the structure of non-linear storytelling in film. It journeys through the
production of a 32min short drama entitled, Queue, following its evolution from the early stages of the script to the completed film.
Through a self-analysis of my role as a writer, director and editor, I identified the priorities and emphasis placed on the various aspects of the story and film production at
each stage. The thesis shows the growth the film has taken simply by allowing itself to follow the trends of thoughts of the characters within the script.
While focusing its investigation on other known films that have been successful with non-linear structure, this study also examines the very nature of what non-linear is, and
the various methods of non-linear plot and story structures, as a medium of storytelling in cinema.
Finally this thesis concludes that the theory of the trend of thought can be a good concept to use as an influence in finding a motivation for a non-linear story structure, as I have found it useful, in the making of Queue.
14
Proust, Sophie. "La direction d'acteurs : dans la mise en scène théâtrale contemporaine." Paris 8, 2002. http://www.theses.fr/2002PA082154.
Full textAbstract:
Principalement basée sur une expérience de stagiaire et d'assistante à la mise en scène de Denis Marleau, Matthias Langhoff, Yves Beaunesne et Robert Wilson de 1997 à 1999, cette recherche définit en quatre parties le travail du metteur en scène avec les acteurs en relation avec un objet de création lors de la période des répétitions pour créer un spectacle. Elle répertorie les prémisses à toute direction d'acteurs dans un processus de création, place le travail du metteur en scène avec les interprètes au-delà d'une simple relation binaire, développe les manifestations du langage spécifique du directeur d'acteurs et les fonctionnements de la direction d'acteurs. Les annexes contiennent notamment des entretiens réalisés avec Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, et des notes de répétitionsBased on my experience as an intern and assistant director for Denis Marleau, Matthias Langhoff, Yves Beaunesne and Robert Wilson between 1997 and 1999, this research defines, in four parts, the director's work with actors during rehearsals for the creation of a production. It indexes the premises necessary to the direction of actors in a creative process, places the director's work with the performers beyond a simple binary relationship, and develops the manifestations of language specific to the director of actors and the functioning of the direction of actors. The appendixes contain, in particular, interviews with Matthias Langhoff, Stéphane Braunschweig, Claude Régy, Ferruccio Soleri et François Chat, as well as rehearsal notes
15
Johnson, Michael Joseph. "IS IT BETTER TO BUY OR RENT A SET: A TECHNICAL DIRECTION FOR THE SIU'S PRODUCTION OF RENT." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1116.
Full textAbstract:
This thesis document is a revisiting of the technical direction of Southern Illinois University's production of RENT. In it, in Chapter One, you will see background on the production itself with a table illustrating a breakdown of scenes from the script and technical challenges for each. Following this, Chapter Two begins discussion of the process I, as the technical director, went through, including preparation, the build itself, and the strike process. The final chapter of this document is a self-reflecting section where the issues I encountered during the process are addressed, and ways I can improve as a technical director are indicated.
16
Wells, Diane. "Modelling problems of independent sector media : an analysis of market-production relationships with reference to independent film and video in Canada." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63882.
Full text
17
Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.
Full text
18
Taylor, Wayne T. "The use of domestic video cameras in the production of low budget drama for broadcast." Thesis, Queensland University of Technology, 1999.
Find full textAbstract:
Just five years ago, the impact of changes that are now occurring in film and television, in the area of digital technology, could not have been foreseen. Production and post production techniques at the broadcast level have changed forever. The introduction of a small digital video format (miniDV), to domestic video production equipment, will impact on the next generation of filmmakers. New digital domestic video camera technology and its application in film and television industry is the area of my research.
19
Rosewell, Susan Tilden. "Examination of Narrative Point of View Through Production by Two Media." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500621/.
Full textAbstract:
Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.
20
Contreras, R. Sandra V. "Strategic aesthetics in advertising campaigns : implications for art direction education." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53222/1/Sandra_Romero_Thesis.pdf.
Full textAbstract:
For over half a century art directors within the advertising industry have been adapting to the changes occurring in media, culture and the corporate sector, toward enhancing professional performance and competitiveness. These professionals seldom offer explicit justification about the role images play in effective communication. It is uncertain how this situation affects advertising performance, because advertising has, nevertheless, evolved in parallel to this as an industry able to fabricate new opportunities for itself. However, uncertainties in the formalization of art direction knowledge restrict the possibilities of knowledge transfer in higher education.
The theoretical knowledge supporting advertising art direction has been adapted spontaneously from disciplines that rarely focus on specific aspects related to the production of advertising content, like, for example: marketing communication, design, visual communication, or visual art. Meanwhile, in scholarly research, vast empirical knowledge has been generated about advertising images, but often with limited insight into production expertise. Because art direction is understood as an industry practice and not as an academic discipline, an art direction perspective in scholarly contributions is rare. Scholarly research that is relevant to art direction seldom offers viewpoints to help understand how it is that research outputs may specifically contribute to art direction practices. This thesis is dedicated to formally understanding the knowledge underlying art direction and using it to explore models for visual analysis and knowledge transfer in higher education.
The first three chapters of this thesis offer, firstly, a review of practical and contextual aspects that help define art direction, as a profession and as a component in higher education; secondly, a discussion about visual knowledge; and thirdly, a literature review of theoretical and analytic aspects relevant to art direction knowledge. Drawing on these three chapters, this thesis establishes explicit structures to help in the development of an art direction curriculum in higher education programs. Following these chapters, this thesis explores a theoretical combination of the terms ‘aesthetics’ and ‘strategy’ as foundational notions for the study of art direction. The theoretical exploration of the term ‘strategic aesthetics’ unveils the potential for furthering knowledge in visual commercial practices in general.
The empirical part of this research explores ways in which strategic aesthetics notions can extend to methodologies of visual analysis. Using a combination of content analysis and of structures of interpretive analysis offered in visual anthropology, this research discusses issues of methodological appropriation as it shifts aspects of conventional methodologies to take into consideration paradigms of research that are producer-centred. Sampled out of 2759 still ads from the online databases of Cannes Lions Festival, this study uses an instrumental case study of love-related advertising to facilitate the analysis of content. This part of the research helps understand the limitations and functionality of the theoretical and methodological framework explored in the thesis.
In light of the findings and discussions produced throughout the thesis, this project aims to provide directions for higher education in relation to art direction and highlights potential pathways for further investigation of strategic aesthetics.
21
Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.
Full text
22
Chu, Xiaoge. "Retrospection and deliberation : the create [i.e. creative] summary of the high definition video works." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327290.
Full textAbstract:
This paper reviews the process of video production that was used to create the creative portion of the thesis project. During this process, I experienced creative art theory, creative methods, and new technology applications. For the production of the thesis, I used a high definition digital video camera to illustrate the conflict and fusion between the East and West on the level of cultural mythology. The thesis is comprised of five parts and seven subdivisions:PrefaceStatement of the problemReview of influenceDescription of the artworks, including seven subdivisions:Theme of the projectSelection of creative styleElements of art and cinematographyProject OverviewTransposing the concrete into the abstractExhibit understanding of the language of cinemaCreative application of emerging HDV technologyConclusion and exhibition statement.Department of Art
23
Davis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.
Full textAbstract:
In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
24
Horton, Willie Charles Jr. "Armed With A Heart." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/1007.
Full textAbstract:
This paper thoroughly examines the production of the thesis short film, Armed With A Heart, from conception to completion. Each area of the film's production is carefully dissected, including the writing, production design, cinematography, editing, sound, technology, workflow, and direction. Each of these areas contain a myriad of decisions that were made in effort to fulfill the overall vision of the movie as being a character driven, psychological thriller produced with a high production value. The aforementioned decisions are discussed at length. Documented feedback from test audiences is also reviewed in an attempt to objectively critique the final film.
25
Amato, William J. III. "The Technical Direction of the 2009 Kent State University School of Theatre and Dance Production of Twelfth Night." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241188098.
Full text
26
Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
Full textAbstract:
Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
27
Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.
Full text
28
Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.
Full textAbstract:
Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
29
Farris, Jennifer. "The Technical Direction Provided for the 2008 Kent State University School of Theatre and Dance Production of Three Sisters." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1236642190.
Full text
30
Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
Full textAbstract:
Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.
31
Diaz, Michael J. "The miseducation of Simon Kraus a record of the film's production." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4672.
Full textAbstract:
The Miseducation of Simon Kraus is a feature-length film produced, written, directed, and edited by Michael J. Diaz as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The thematic aim of the film is to paint a portrait of the Millennial Generation on the microcosm, by following the story of an apathetic protagonist whose dreams and ambitions are threatened by his own character. The statements, documents, and images contained herein serve to record the experience and motivation behind the film.ID: 029050565; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2010.
M.F.A.
Masters
Department of Film
Arts and Humanities
32
Ho, Chui-fun Selina, and 何翠芬. "Ann Hui as a female filmmaker: in search of Hong Kong culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951636.
Full text
33
Gumaste, Nitin S. "An experiment in portable escapism : storytelling and the iPod." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345339.
Full textAbstract:
This study examines the possibility of creating original video-based content for the video-enabled iPod that was released in October 2005. Current trends show that existing content created for conventional media like television, cinema and computers are simply being ported over to this new medium. However, when this project began, none of the production studios are concentrating on creating content specifically for this medium, which has its own unique properties like portability, screen size and the ability to easily start and pause content as required. The purpose of this project is to prove that such medium-specific content can be created and made financially viable for the creators. Further, this hypothesis is put to the test by presenting it to a group of Ball State University students and their responses are examined in detail.Department of Telecommunications
34
Hillier, Fleur Jane School of Public Health & community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences." Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.
Full textAbstract:
In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.
35
Brook, Johnathan. "The Role of Translation in the Production of International Print News. Three Case Studies in the Language Direction Spanish to English." Thesis, University of Auckland, 2012. http://hdl.handle.net/2292/19462.
Full textAbstract:
Translation has become a key, albeit hidden factor in the success of international news as a marketable commodity and one that is not overtly recognised by journalists. However, despite the important socio-political role played by translation in the global circulation of news, general principles governing processes of translation in its production have received scant attention from both Media and Translation Studies researchers The core to this study is to explore the complex set of processes that occur in the translation of political news, and to discover what exactly happens at various points in regard to who translates, what is translated, where it is translated and by whom it is translated. A further goal is to ascertain the extent to which trained competent translators are involved, as opposed to linguistically competent journalists, or, if that is not the case, whether indeed the former should be involved in processes of news translation. From a translation perspective the study explores the practice of newswriters complying with common journalistic strategies such as simplification and reframing to suit the needs of their readership for the maintenance of dominant political or cultural ideologies. It also examines the extent to which disregard for, and removal from, original context, as well as over- or under-emphasis of particular terms or phrases actually happens in translated news texts in the Spanish-English context, and the effect that this may have at the point of reception by the new readership. By comparing three sub-corpora of journalistic source and target texts through critical discourse analysis, and by taking into account translation processes through ethnographic research in international news outlets, the ultimate goal is to identify the causes that can trigger textual manipulation. Using three case studies comprising political news events that were originally reported in Spanish at the source of the events, and which were subsequently reported in UK and US national newspapers, the study investigates the extent to which transformations occur through translation in the representation of political news events, how they might occur, who is involved in the process and what effect any transformations might have on readers.
36
Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
Full textAbstract:
This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
37
Flores-Muñoz, Roberto-Andrés. "Dirección del cortometraje de ficción La última función." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/5110.
Full text
38
Vorlická, Adéla. "Zvýšení efektivity pracoviště pro výrobu obalů." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2009. http://www.nusl.cz/ntk/nusl-222236.
Full textAbstract:
This diploma thesis deals with a proposal to increase the efficiency of package production in SERVISBAL OBALY s.r.o. company. The aim of the solution is to suggest methods for the production capacity improvement on the RODA Super-Combi 130 electronic unit and to inform about other production improving techniques.
39
O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.
Full textAbstract:
The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.
40
Cheurfa, Mustapha. "Gestion des ressources humaines en production cyclique." Phd thesis, Ecole Nationale Supérieure des Mines de Saint-Etienne, 2005. http://tel.archives-ouvertes.fr/tel-00849977.
Full textAbstract:
Nos travaux de recherche portent sur le problème de prise en compte des contraintes liées aux ressources humaines, en termes d'affectation des opérateurs aux machines, dans les problèmes d'ordonnancement d'atelier. Ce problème intégrant l'affectation des opérateurs aux machines consiste à déterminer 1 'état d'atelier au cours du temps, et à considérer le problème d'ordonnancement d'atelier dans sa globalité en prenant en compte l'influence de l'affectation des ressources humaines sur les activités de production. Ceci impose en plus de la gestion de la séquence des travaux, la gestion des affectations des hommes aux postes de travail. Nous avons considéré le cas où les productivités des machines dépendant de 1 'affectation des opérateurs. Nous avons supposé que le nombre d'opérateurs est inférieur au nombre de machines, un opérateur peut superviser simultanément plusieurs machines et que la supervision simultanée de plusieurs machines par un opérateur diminue les productivités de ces dernières. L'originalité de nos travaux de recherche est liée au fait que les durées opératoires des travaux sont variables dans le temps et sont fonctions de 1 'évolution des affectations des opérateurs aux machines dans le temps. Deux grandes parties composent nos travaux de recherche. La première partie porte sur le problème de modélisation de 1 'affectation des opérateurs aux machines. Elle consiste en la proposition d'un cadre théorique pour 1 'intégration des contraintes liées à la prise en compte des ressources humaines, en terme d'affectation des opérateurs aux machines, dans la modélisation des problèmes d'ordonnancement d'atelier. Une définition d'un problème d'ordonnancement d'atelier impliquant l'aspect" ressources humaines" est alors proposée. La seconde partie a porté sur une application de la modélisation proposée dans la première partie pour le cas d'une production cyclique. Plus précisément, nous avons étudié le problème d'existence d'une affectation des opérateurs réalisant un ordonnancement cyclique pour un atelier_ de type Flow Shop. Nous avons supposé qu'un ordonnancement cyclique, défini par une durée de cycle et un ensemble de travaux à réaliser durant cette durée, est donné pour des productivités nominales des machines et sans aucune prise en compte des ressources humaines. Par conséquent, et dans le cas où le nombre d'opérateurs est inférieur au nombre de machines et que l'affectation des opérateurs conditionnent les productivités des machines, 1 'introduction et la considération des ressources humaines pour la réalisation de l'ordonnancement cyclique pourrait allonger la durée d'exécution des travaux et remettre en cause la durée de cycle. Nous avons étudié ce problème d'existence d'une affectation des opérateurs réalisable pour Flow Shop Cyclique pour trois modes de réaffectations des opérateurs : calendaire, sur évènement de fin de tâche et libre. Nous avons présenté une formulation mathématique du problème pour ces trois modes de réaffectation des opérateurs, démontré que ce problème est NP-complet pour les deux modes calendaires et sur événement, et qu'une restriction du problème de mode de réaffectation libre est NP-complet. Nous avons également proposé, pour ces trois modes, un modèle mathématique linéaire en nombre entier. Une approche de résolution basée sur le principe de la programmation dynamique a été proposée pour les deux modes réaffectation calendaire et sur événement.
41
Shapiro, Bruce G. "Iconicity : the presence of imagery in the principles and practice of dramatic performance." Thesis, Queensland University of Technology, 1997.
Find full textAbstract:
This thesis is devoted to an explanation of iconicity, a process for acting and staging dramatic performances. The premise of the thesis is that dramatic performance is generated out of the same innate neural architecture human beings use in their daily lives to execute events. At the core of this neural architecture is the human brain's capacity for internally generating, reduplicating, storing and triggering imagery. The process of iconicity uses this mental capacity to rehearse and perform dramas. The process of iconicity is based upon the actor's innate cycle of
performance, which the thesis explains. This process is also neopragmatic and hermeneutic, using rehearsal to cultivate strands of iconicity persisting and, therefore, conversing in the drama. In dramatic performance, contrived imagery is triggered in the actor, informing a performance consciousness that activates the actor's contrived cycle of
dramatic performance. The research was carried out in rehearsals for around twenty-five productions over a period of sixteen years, during which time the iconicity process was developed in practice. Therefore, this thesis is the record of a journey through artistic practice toward the iconicity process. In order to understand the discoveries made during rehearsals, a variety of critical theories came into play and these are discussed in this thesis. But the context for all theoretical discourse is the artistic practice of dramatic performance. With respect to the presentation of the thesis itself, my aim is to emulate the iconicity process by a linear discourse which, once read,
may be reread in its entirety or according to an individually ordered selection of the sub-headed sections.
The linear discourse itself is divided into two parts preceded by the Introduction. This introduction briefly establishes some foundational perspectives that are meant to orient the reader to the content of the thesis. Part One is devoted to the principles of iconicity. It begins with a Prologue presenting the theory of innate performance, from which I believe dramatic performance derives. Chapter One is devoted to ideology; Chapter Two answers the question, What is Acting?; and Chapter Three introduces the affect theory of the emotions. Although at times the initial presentation of perspectives and principles refers to practice, essentially, the Introduction and Part One
comprise a mosaic of ideas that make up a lateral foundation for the more linear practice of iconicity, which is presented in Part Two. Part Two is much more practically oriented than Part One. However, in order to fully understand this latter part of the thesis, the foundation of ideas set out in Part One must be kept in mind.
The four chapters of Part Two present the strands of iconicity. Chapters Four and Five deal with the strand of events and the rules of dramatic structure, respectively. Chapter Six details what I refer to as the intermediate strands of dialogue and interactions. Chapter Seven
discusses the strand of performance. An Epilogue addresses a few remaining issues about acting and iconicity.
42
Greer, Daniel. "Snakes Alive!" Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9101/.
Full textAbstract:
On three days in March each year, the sleepy little town of Sweetwater, Texas transforms into the rattlesnake capital of the world. Snake hunters and curious tourists converge on the town of 12,000 for the Annual Sweetwater Rattlesnake Roundup. On the outside of the Nolan County Coliseum, the smell of funnel cakes and hot-dogs fills the air as vendors sell snacks and souvenirs. However the real action is inside where snakes collected from all over the state lay in piles by the thousands, waiting to be sexed, milked and ultimately killed. Through interviews and observational footage, "Snakes Alive!" explores the Sweetwater Rattlesnake Roundup, those that participate in the event, and the elements that make it an unabashed West Texas tradition.
43
Fuelling, Christopher J. "The Ariadne project : a companion paper to the creative thesis 698 composition and performance of the opera/installation, Ariadne." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845926.
Full textAbstract:
The performance of my opera/art installation, Ariadne, on April 2 and 4, 1993, in Recital Hall, culminated a year of research, composition, production, and rehearsal upon the Ariadne Project, an interdisciplinary art collaboration. My project brought together the research, creative, and performance skills of many individuals throughout the university community and beyond. Designed as a companion paper to this composition and performance, this paper documents the inception, creation, production, and performance of the Ariadne Project. It also addresses the issues and sources dealt with and assessess the effectiveness of the product and the process.Department of Art
44
Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.
Full textAbstract:
Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
45
Goodman, David. "Texas Paranormalists." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822843/.
Full textAbstract:
Texas Pararnormalists mixes participatory and observational styles in an effort to portray a small community of paranormal practitioners who live and work in and around North Texas. These practitioners include psychics, ghost investigators, and other enthusiasts and seekers of the spirit world. Through the documentation of their combined perspectives, Texas Paranormalists renders a portrait of a community of outsiders with a shared belief system and an unshakeable passion for reaching out into the unknown.
46
Langlois, Sylvain. "Les opéras de Rossini, Bellini et Donizetti au Théâtre des Arts de Rouen à l'époque romantique : direction de théâtre, répertoire, production et réception." Rouen, 2009. http://www.theses.fr/2009ROUEL014.
Full textAbstract:
Au second quart du XIXe siècle, le répertoire lyrique du Théâtre des Arts de Rouen connaît une évolution progressive durant vingt années. Jusqu'alors composée essentiellement d'opéras-comiques, la programmation lyrique du Théâtre se diversifie, permettant au public rouennais de découvrir de nouveaux genres : opéras-traductions de Rossini, grands opéras d'Auber, Meyerbeer, Halévy, etc. Au début de l'année 1839, la direction du théâtre propose deux traductions d'opéras italiens : Anne de Boulen de Donizetti et La Somnambule de Bellini. Ces deux créations demeurent le point de départ d'un certain engouement de la part du Théâtre pour ces deux compositeurs. Durant six années, les directions successives programment plusieurs opéras de Donizetti, Bellini et Rossini. Les représentations du "répertoire lyrique italien" augmentent considérablement et occupent plus d'un tiers du répertoire global durant l'année 1843-1844. Cette "italophonie" soudaine résulte de l'heureuse rencontre de différents protagonistes : directeurs, chef d'orchestre, chanteurs, décorateur, etc. La diffusion de l'opéra romantique italien permet le développement des moyens de productions du Théâtre dans le but de répondre aux exigences de ce nouveau genre. Plusieurs opéras de Donizetti intègrent pleinement le répertoire lyrique du Théâtre et se classent parmi les oeuvres les plus représentées durant tout le XIXe siècle. Une chronologie évènementielle entre 1839 et 1844, réalisée à partir du dépouillement de périodiques rouennais, permet d'évaluer l'importance de l'arrivée de ce "répertoire italien" sur une scène provinciale, tout en déterminant sa part d'italianitéDuring the second quarter of the nineteenth century, the lyric repertoire of the Théâtre des Arts of Rouen had known a progressive evolution. Previously composed of light operas, the lyric programming of the theatre was diversified thus allowing the opera-going public of Rouen to discover news genres : operas-traductions (translations) by Rossini, grands-operas by Auber, Meyerbeer, Halevy etc. . . Early in 1839, the direction of the theatre proposed two translations of Italian operas : Anne de Boulen by Donizetti and La Somnambule by Bellini. These two creations were the starting point of certain craze on behalf of the Theatre for these two composers. During six years, the successive directions scheduled several operas by Donizetti, Bellini, Rossini. "Italian Lyric repertoire" performances increased considerably and represented more than a third of the global repertoire during years 1843-1844. This sudden "italophony" resulted from the meeting between various protagonists such as directors, conductors, singers, stage designers, etc. The success of Italian romantic opera allowed the development of the means of production of the Theatre in order to meet the requirements of this new genre. Several operas by Donizetti fully integrated the lyric repertory of the theatre and ranked among the most performed plays throughout the nineteenth century. A chronology of events between 1869 and 1844 made from the examination of Rouen Periodicals allowed to assess the importance of the arrival of this "Italian repertoire" on a provincial stage, while determining its share of Italianity
47
Huang, Tsuo-Yen. "Kwan Kong Temple in Taipei." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279135/.
Full textAbstract:
The video decribes a Chinese temple, Kwan Kong temple. This documentary follows the ceremony of this temple. We will watch the interaction between the worshipers and their God.
The accompanying paper reports on the production background, preproduction process, and includes discussion of the problems encountered from production through postproduction stages.
48
Cochella-Garcia, Giacomo. "Mar de recuerdos." Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/5108.
Full text
49
Choi, Ho-Kyung. "Two for One, One for Two." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278117/.
Full textAbstract:
The film is about three young Korean-American adults who have adapted to American society while retaining certain aspects of Korean culture in their lives. To expose their intermingled behaviors and concepts, the film combines the observational format of a documentary with an information style employing family photos, home movie recordings, and interviews with the three subjects and their families. An accompanying production report describes the research process, pre-production, production, and post-production.
50
Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
Full textAbstract:
Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.