Dissertations / Theses on the topic 'School of Film and Television History'
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
2
Gaal-Holmes, Patricia. "Decade of diversity : a history of 1970s British experimental film." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/decade-of-diversity(5130421f-c0de-4588-9aa1-d8232a9113a8).html.
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This thesis sets out to demonstrate the diversity in 1970s British experimental filmmaking, and acts as a form of historical reclamation. The intention is to integrate films that have not received adequate recognition into the field alongside those that stand as accepted texts. In accounts of the decade structural and material film experimentation, taking place predominantly at the London Filmmakers’ Co-operative (LFMC), has tended to dominate the histories, at the expense of overshadowing more personal, expressive and representational forms of filmmaking. This thesis therefore seeks to redress the balance by demonstrating that 1970s filmmaking was far more complex and diverse than has previously been acknowledged. It importantly also challenges the belief that more expressive, personal forms of filmmaking returned at the end of the decade, to argue that these were in existence throughout the decade. Evidence of diversity is provided through the range of approaches to filmmaking and individual films discussed. Written evidence of the ‘return to image’ thesis is also provided, demonstrating how this has problematically perpetuated a flawed account of the decade. Relationships to the visual arts are closely considered as experimental filmmaking essentially emerged from this field, as opposed to the dominant, commercial cinema. Filmmaking is, however, also considered within the wider contexts of independent film production, particularly where intersections occurred with institutional or organisational frameworks. Theoretical, socio-political and cultural influences informing filmmaking have also been deliberated, as these significantly informed filmmaking. The framing of 1970s experimental (and independent) filmmaking within Marxist discourses has also been recognised as potentially supporting the problematic ‘return to image’ thesis, particularly as collectivist Marxist ideologies potentially militated against more personal, individual and expressive forms of filmmaking. The first half of the thesis (Chapters One to Three) considers the institutional frameworks and organisational strategies informing and shaping filmmaking. This includes a focus on education, funding and film exhibition; as well as the efforts made by individuals and groups to ensure that experimental filmmaking received the recognition it required to develop and flourish. In the second half of the thesis (Chapters Four to Seven) more detailed studies of the films are made in relation to relevant theoretical or socio-political discourses contextualising filmmaking. These include discourses in the visual arts; countercultural influences and more personal expressive approaches to filmmaking; theoretical discourses related to experimentation with structure and material and feminist discourses related to women’s filmmaking. A range of methodological approaches has been used to uncover the diversity in filmmaking. The film texts themselves have provided the most singular evidence for proof of diversity. Both primary and secondary written texts have been consulted in order to facilitate an understanding of the films and recognise the theoretical and socio-political contexts informing filmmaking and to comprehend the complex nature of the field. The intention throughout has been to provide an understanding of this diverse, vibrant and rich history.
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Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.
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This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.
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Franklin, Ieuan. "Folkways and airwaves : oral history, community and vernacular radio." Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/15995/.
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This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?
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Hackett, Gable. "That 80's Show! - The Politics, Film, and Television of the Reagan Years." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3048.
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The 1980’s were a transformative era for the United States of America. The nation had been through a very tumultuous and difficult period following the Kennedy assassination, the Vietnam War, Watergate Scandal, and recession that had plagued the late 1970’s. The fortieth President of the United States, Ronald Reagan, sought to alter this direction by bringing the United States back into a conservative renaissance. He accomplished this in part by using his history in and knowledge of Hollywood. Films and television shows were used by President Reagan to paint the image he had of a better America. A return to classical, conservative family values, a strong, effective military, and the strong opposition and denunciation of communism all became synonymous with the 1980’s and with Ronald Reagan. He left office as one of the most popular and successful Presidents in the history of the country and cast a shadow upon the American political scene that is still seen today.
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Fain, Rob Jason. "Uncovering local history : 16 mm TV news film remaining in U.S. television stations /." Online version of thesis, 2007. http://hdl.handle.net/1850/5957.
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Thesis (M.S.)--Rochester Institute of Technology, 2007.Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).
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Joseph, Robert Gordon. "Playing the Big Easy: A History of New Orleans in Film and Television." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522601211962016.
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Hammond, Michael. "The big show : cinema exhibition and reception in Britain in the Great War." Thesis, Southampton Solent University, 2001. http://ssudl.solent.ac.uk/1226/.
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Chris, Cynthia. "Watching wildlife : on the nature genre in film and television, its history and meanings /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044794.
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Perry, Colin. "Into the mainstream : independent film and video counterpublics and television in Britain, 1974-1990." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/11999/.
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This thesis looks at independent film and video cultures in Britain from the mid 1970s to late 1980s. It examines a period of time in which diverse radical film- and video-makers in Britain contributed towards struggles against capitalism, patriarchy, racism, colonialism and homophobia. New social models of film and video production and exhibition were developed, such as the film collective, and new alliances were built to campaign for changes to social policy and legislature. The study examines this moment in order to clarify the capacity for radical discourse to bring groups together and impact on dominant cultural forms such as television. The thesis explores the interrelation between public debate, institutions and individuals. It uses public sphere theories to examine alternative reading publics, and media such as film, video and television. It argues that independent film and video in Britain at this time, including activist documentary, currents of counter-cinema and avant-garde film, was largely concerned with creating and circulating counterpublic discourses. These counterpublic discourses consolidated and expanded oppositional groups, and set out to change aspects of society as a whole. The thesis gives an account of the diversity of the influences on independent film and video, from socialist and liberation movements, to popular radical histories and psychoanalytic and Marxist film theory. Attention is given to the Independent Filmmakers’ Association as an agent of change between filmmakers and state, notably in terms of national film and broadcasting policy. There is a case study of Marc Karlin’s television film For Memory (1986), which looks at the fate of socialist memory under televisual regimes; and a case study of Stuart Marshall’s Bright Eyes (1984), which looks at issues of sexuality, identity and counter-history during the AIDS crisis. The thesis argues that during this period, independent film- and videomakers helped to transform television into a vital site of counterpublic discourse.
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James, Gareth Andrew. "HBO : brand management and subscriber aggregation, 1972-2007." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3139.
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The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO’s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO’s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network’s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO’s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of ‘quality’ television, their ongoing importance to the network’s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. Suggesting much longer institutional continuities and influences for understanding HBO’s success, the thesis outlines the development and influence of these strategies through a critical chronology of the network’s history. In doing so, the thesis aligns with trends for rigorous media histories that consider the origins, long-term precedent and cyclical institutional strategies that govern contemporary industry practices.
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Bornia, Ingrid. "Film och historia Lärares bruk av film i den svenska grundskolans historieundervisning. Film and history The Use of Film in History Teaching in Swedish Compulsory School Ingrid Bornia." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31066.
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SammanfattningI denna uppsats har jag har valt att fokusera på hur film används i den svenska grundskolans obligatoriska historieundervisning i årskurserna 7-9. Tanken är att belysa hur film används som redskap och komplement i undervisningen och på vilket sätt filmen följs upp. Undersökningen har visat att användandet av film kan fungera som komplement i undervisningen, då detta i mångt och mycket kan ge en djupare förståelse och inblick i människors livsvillkor och samhällets förändringar genom historien. Men det är själva uppföljningen och bearbetningen av filmen som är avgörande om historiefilmer ska fungera i undervisningssyfte. Undersökningen utfördes som en halvtstrukturerad kvalitativ intervju. Detta val av förfarande grundar sig i att jag var ute efter så öppna svar som möjligt, vilket gav respondenterna möjlighet att prata mer öppet. Undersökning har visat att användandet av film i historieundervisningen är ett av många redskap som läraren kan använda sig av för att motivera eleverna för ämnet historia. Undersökningens resultat har även visat att eftersom många av dagens grundskoleelever har stora språksvårigheter, kan det bli svårt för läraren när denne ska välja film. Men trots det faktum att många grundskoleelever har språksvårigheter, borde detta inte vara ett hinder när läraren väljer att visa film i historieundervisningen. Anledningen är att tittaren i mångt och mycket faktiskt förstår vad filmen handlar om även om denne inte förstår vad skådespelarna säger. Det är alltså möjligt för eleven att hänga med i filmen och förstå dess huvudsakliga handling även om skådespelarna talar ett annat språk.
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Shaw, Sally. "'But where on earth is home?' : a cultural history of black Britain in 1970s film and television." Thesis, University of Portsmouth, 2014. http://eprints.port.ac.uk/17615/.
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This thesis adopts an interdisciplinary approach in order to explore the social and cultural history of black Britain in 1970s fictional film and television. It draws on rigorous archival research, original interview testimony with practitioners and audience members, and close textual analysis of visual sources, in order to examine relations between black film and television texts and the social, political and institutional contexts of their authorship. The key focus of my study is therefore on black creative agency. Whilst prior studies have addressed black expression and representation in film and television, few have attempted to trace the process of creativity itself. My study uniquely traces the black creative voice in an historical period of emergence and conflict, and endeavours to ‘map’ it in terms of networks of (white and black) practitioners, the spaces of industrial production and the metaphorical, geographical and diasporic spaces of community and socio-political action. The thesis is structured in two parts. In Part 2, my ‘mapping’ encompasses a broad landscape – I ‘map the field’ socio-politically and then provide a survey of the significant range of feature films and television programmes concerned with black Britain in the 1970s. I then present three case studies. These are chosen for their variety of genre and form, for the valuable insights they offer into production and reception histories, and because they demonstrate the usefulness of the imaginative interpretation of archival and interview material in reappraising film and television texts in their historical contexts. In Part 3, I then draw on this methodological approach in order to ‘map’ the creative journey of the poet and playwright Jamal Ali, who worked in radical black theatre, film and television in the 1970s. Ali’s story provides an exemplar for the exploration of black creative agency in this period. Furthermore, the Brixton of Ali’s life and work is explored both as a site of socio-political struggle and as a liminal space in which diasporic community and black identity are imaginatively located.
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Rothstein, Jeffrey. "The Apotheosis of Discontent: Representations of the Counterculture in 1960's Film and Television." Connect to online version at OhioLINK ETD Connect to online version at Digital.Maag, 1999. http://hdl.handle.net/1989/4795.
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Willocks, Remy M. "Masculinity on Every Channel: The Development and Demonstration of American Masculinity of the Postwar Period via 1960s Television." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1574024599256381.
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Drifalk, Rickard. "Teaching and learning English in a Swedish school : A case study of television media usage." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5246.
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The purpose of this essay was to investigate how films and TV-series were used in a Swedish lower secondary school, but also the pupils’ and teachers’ attitudes towards using television media. A questionnaire was handed out to 49 pupils asking them, for example, if they thought they learned grammar from watching films. In addition two teachers were interviewed and asked questions about what they thought about using television media in their teaching and how often they used it in their teaching. The results showed that both teachers and pupils were positive towards television media. The pupils thought they learned grammar, pronunciation, improved their listening comprehension and learned new vocabulary. They also stated that a lesson based on television media was more fun than a usual lesson and something they would like to see more of . However, the pupils were doubtful whether they learned more during such a lesson than a lesson based on the textbook. Copyright problems were an issue for the two teacher and they also stated that it requires more time to plan a meaningful activity involving television media compared to the traditional teaching. However, they felt that when they took the time to plan such an activity, it was worth it and the pupils reacted in a positive way.
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de, los Reyes Vanessa. "From Conformity to Protest: The Evolution of Latinos in American Popular Culture, 1930s-1980s." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505205872234436.
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Bellany, Jeanette Anne. "'Going live' : establishing the creative attributes of the live multi-camera television professional." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/57730/1/Jeanette_Bellany_Thesis.pdf.
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In my capacity as a television professional and teacher specialising in multi-camera live television production for over 40 years, I was drawn to the conclusion that opaque or inadequately formed understandings of how creativity applies to the field of live television, have impeded the development of pedagogies suitable to the teaching of live television in universities. In the pursuit of this hypothesis, the thesis shows that television degrees were born out of film studies degrees, where intellectual creativity was aligned to single camera production, and the 'creative roles' of producers, directors and scriptwriters. At the same time, multi-camera live television production was subsumed under the 'mass communication' banner, leading to an understanding that roles other than producer and director are simply technical, and bereft of creative intent or acumen. The thesis goes on to show that this attitude to other television production personnel, for example, the vision mixer, videotape operator and camera operator, relegates their roles to that of 'button pusher'. This has resulted in university teaching models with inappropriate resources and unsuitable teaching practices. As a result, the industry is struggling to find people with the skills to fill the demands of the multi-camera live television sector.
In specific terms the central hypothesis is pursued through the following sequenced approach. Firstly, the thesis sets out to outline the problems, and traces the origins of the misconceptions that hold with the notion that intellectual creativity does not exist in live multi-camera television. Secondly, this more adequately conceptualised rendition, of the origins particular to the misconceptions of live television and creativity, is then anchored to the field of examination by presentation of the foundations of the roles involved in making live television programs, using multicamera production techniques. Thirdly, this more nuanced rendition of the field sets the stage for a thorough analysis of education and training in the industry, and teaching models at Australian universities. The findings clearly establish that the pedagogical models are aimed at single camera production, a position that deemphasises the creative aspects of multi-camera live television production.
Informed by an examination of theories of learning, qualitative interviews, professional reflective practice and observations, the roles of four multi-camera live production crewmembers (camera operator, vision mixer, EVS/videotape operator and director's assistant), demonstrate the existence of intellectual creativity during live production. Finally, supported by the theories of learning, and the development and explication of a successful teaching model, a new approach to teaching students how to work in live television is proposed and substantiated.
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Wälivaara, Josefine. "Dreams of a subversive future : sexuality, (hetero)normativity, and queer potential in science fiction film and television." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-62893.
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The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction. While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.
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Roberts, Ivy. "Distant Electric Vision: Cultural Representations Of Television From “Edison’s Telephonoscope” To The Electronic Screen." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4720.
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Do inventions that exist only on paper have less credibility than functional technologies? How has the meaning and significance of audiovisual media and technology changed over time? This dissertation examines historiography and methodology for media history, arguing for an interdisciplinary approach. It addresses methodological issues in media history—media in transition, media archaeology, and film history—through an examination of television’s speculative era. It tackles moving-image history through an historical investigation of Victorian and Machine age “television”.
Because the concept and terminology of “television” changed dramatically during this period, I use the phrases “distant electric vision” and “seeing by electricity,” to define the concept of electric and electronic moving-image technology. By identifying manifestations of “television” before functional models existed, this dissertation examines the ways in which a modern concept of moving-image technology came into existence. Engineers and inventors, as well as audiences and journalists contributed to the construction of “television.” Newspaper announcements, editorial columns, letters to the editor, rumors and satires circulated.
Victorian-era readers, writers and inventors pictured “seeing by electricity” to do for the eye what the telephone had done for the ear, bringing people closer together though separated
by great distances. In contrast, early twentieth-century Machine-age engineers placed more emphasis on systems, communication, design, and picture quality. Developments in the 1920s with complex systems and electronics made “distant electric vision” a reality.
This dissertation identifies several shifts that took place during television’s speculative era from the Victorian “annihilation of space” to Machine-Age systems engineering. Journalists, readers, and engineers all play a part in the rhetoric of innovation. From the Victorian era to the Machine age, the educational function of popular science and the role of audiences in constructing meaning and value for new technologies remain relatively consistent. I offer several case studies, including Thomas Edison’s inventions, illuminating engineering, and Bell Labs experiments with television. This dissertation argues that modern television design relies on the ability of the technology to make an unnatural experience seem as effortless as possible. Ultimately, it advocates for an expanded definition of media and technology, along with an historical emphasis on context.
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Kollman, Kathleen Taylor. "If She Were President: Fictional Representations of Female U.S. Presidents in Film, Television, and Literature in the Twentieth Century." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586964467931721.
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Hohe, Meredith K. "American Dreams and Red Nightmares: Popular Media and the Framing of a Cold War Enemy, 1949-1962." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1283266257.
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McRae, Leanne. "Aliens, bodies and conspiracies: Regimes of truth in The X-files." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1247.
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The X-Files is a television program that first screened on Australian television in 1993. This thesis will investigate the role of The X-Files as a cultural text. The X-Files is a significant program, and has contributed to a shift in the way in which television texts represent ideas about society, knowledge and truth. This thesis argues that The X-Files presents ‘knowledge’ in particular ways, and makes it possible to think about the relationship between the body, knowledge, and society in ways which have not previously been so visible.
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Espinoza, Jorge Mauricio. "Inventing the Latino/a Hero: `Legality’ and the Representation of Latino/a Heroic Figures in U.S. Film, Television, and Comics." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436541436.
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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.
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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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Ferrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999." Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.
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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal.
The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience.
Thus the thesis follows a methodologic approach that positions texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectarors have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is beacause film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii).
Within this framework, the thesis proposes a project that understands history films with the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.
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Guffey, Ensley F. "Fantastic Histories: War and American Memory in Selected Works of Joss Whedon." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2333.
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This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.
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Ludvigsson, David. "The Historian-Filmmaker's Dilemma : Historical Documentaries in Sweden in the Era of Häger and Villius." Doctoral thesis, Uppsala universitet, Historiska institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.
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This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.
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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.
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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Moor, Andrea L. "Contemporary actor training in Australia." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63083/1/Andrea_Moor_Thesis.pdf.
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This professional doctorate included a major research project investigating the efficacy of acting methodologies taught at four leading Australian actor-training institutions - National Institute of Dramatic Art, Queensland University of Technology, Victorian College of the Arts, and Western Australian Academy of Performing Arts. This study represents the first review of its kind, in which the 'castability' of acting graduates from each of these schools was scrutinized by industry leaders. The study not only reveals the methodologies and philosophies of each school but determines an ideal set of practices for future consideration. The doctorate also included two practice-led projects examining the candidate's transition from actor and teacher of actors to theatre director. The candidate's qualitative study was also underpinned by reflective practice on her extensive professional experience as actor, teacher and director.
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Ohlander, Daniel, and Petter Åberg. "Sex gymnasielärares syn på film i undervisningen: visuellt komplement eller slapp utfyllnad?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39699.
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This study focuses on teachers in civics and history in Swedish upper secondary schools. The study aims partly to examine how the teachers use film as a teaching method and how they motivate film as an educational tool in their classes. The study also assesses the thoughts of teachers regarding the optimal usage of film as an educational method. The analysis is based on qualitative interviews with six different teachers, all currently working in two different schools in the Southern parts of Sweden. To analyze and process the interviews we used didactics as our main theoretical focus, but also a hermeneutical perspective to interpret the outcome of our research. Furthermore, we’ve presented previous research about the usage of film in schools and how teachers use it as a teaching method. The results show that all teachers in our study use film as a source of education and that they all can motivate why they’re using film in their classes. The results also show that teachers are bound to the Swedish curriculum and limited time when they work with film in school, so even if they want to work with film more or differently, most feel that it’s hard to do so at the moment. Lastly the results show that film can and should be used in school as an educational tool, as long as it’s done properly and with a clear thought process from the teacher.
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Vandorpe, Dries. "The Archaeology of Liveness." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.
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Petrus, John Stephen. "Gender Transgression and Hegemony: the Politics of Gender Expression and Sexuality in Contemporary Managua." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429609857.
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Holmquist, Fredrik. "Ungdomar och historiekultur. En studie av gymnasieelevers intresse för och förståelse av historia. Youth and Historical Culture. A study of High School Students´Interest for and Understanding of History." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36537.
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Syftet med examensarbetet var att göra en kvalitativ historiedidaktisk studie av gymnasieelevers intresse för historia i allmänhet och förståelse av en specifik historiekulturell artefakt i synnerhet. Detta är inte minst intressant med hänsyn till läroplanens riktlinjer om undervisningens anpassning och beaktande av elevernas erfarenhets- och livsvärld. En klass i respektive Historia A, B och C – sammanlagt åttio elever – fick läsa historikern, författaren och akademiledamoten Peter Englunds essä ”Om fattigdomens historia”. Därefter fick de svara på ett frågeformulär med öppna frågor om läsningen och deras förhållande till historiekultur i stort. Analysen av resultaten kom att problematisera och lyfta fram två huvudsakliga kritiska faktorer i historieundervisningen och fyra förslag på didaktiska och pedagogiska strategier för att i möjligaste mån utgå från och möta eleverna i densamma. Förslagen skiftar mellan erfarenhetspedagogikens tillmötesgående och en främmandegörande pedagogiks kritiska bearbetning av elevernas erfarenhets- och livsvärld.
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Shaw, Caitlin. "Remediating the eighties : nostalgia and retro in British screen fiction from 2005 to 2011." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11153.
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This doctoral thesis studies a cycle of British film and television fictions produced in the years 2005-2011 and set retrospectively in the 1980s. In its identification and in-depth textual and contextual analysis of what it terms the ‘Eighties Cycle’, it offers a significant contribution to British film and television scholarship. It examines eighties-set productions as members of a sub-genre of British recent-past period dramas begging unique consideration outside of comparisons to British ‘heritage’ dramas, to contemporary social dramas or to actual history. It shows that incentives for depicting the eighties are wide-ranging; consequently, it situates productions within their cultural and industrial contexts, exploring how these dictate which eighties codes are cited and how they are textually used. The Introduction delineates the Eighties Cycle, establishes the project’s academic and historical basis and outlines its approach. Chapter 1 situates the work within the academic fields that inform it, briefly surveying histories and socio-cultural studies before examining and assessing existing scholarship on Eighties Cycle productions alongside critical literature on 1980s, 90s and contemporary British film and television; nostalgia and retro; modern media, history and memory; British and American period screen fiction; and transmedia storytelling. Chapter 2 considers how a selection of productions employing ‘the eighties’ as a visual and audio style invoke and assign meaning to commonly recognised aesthetic codes according to their targeted audiences and/or intended messages. Chapter 3 investigates semi-autobiographical dramas that bear the mark of remembering, from the vantage point of the present, a time of fast expansions and shifts in the global media landscape. Chapter 4 explores how historical fictions locate historical knowledge in the decade’s refraction through modern media and reconstruct, deconstruct or ironise these mediations to meet particular cultural or industrial demands. Chapter 5 identifies two spin-offs that exploit shifts toward transmedia production and distribution by using eighties iconography as the set pieces for an immersive fantasy world, considering how and why their source texts are adapted and what this implies for past representation. Finally, the Conclusion reviews the project’s findings and briefly considers possible factors for the cycle’s deceleration and transformation after 2011. Ultimately, this project sees the Eighties Cycle as a by-product of shifts in Britain toward advanced globalisation and new mediation that have facilitated access to domestic and international mediated recent pasts. These productions operate within a distinct recent-past period screen fiction mode, engaging audiences equipped with comprehensive notions of the eighties as circulated in media. Meaning is produced in how these notions are structured; sometimes they are lauded, sometimes parodied, sometimes criticised or ironised, and sometimes they are simply cited for the sheer pleasure of recall.
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Moore, Ashley N. "Fisher of Men." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1408.
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Fisher of Men tells the story of an ancient and secretive group of supernatural balance keepers. When God goes missing, it is up to them to locate him before the armies of Heaven and Hell lay siege to the earth, but they have their own problems. When knowledge of a secret weapon surfaces, they are tasked to find it and destroy it before it falls into the hands of either side. The secret weapon is Charitie Newman, a young woman from rural Indiana who moved to New Orleans with her sister. Charitie has special abilities that have no limits, and after her sister is brutally murdered, she agrees to join forces with the group in order to find God--and her sister's murderer.
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Johansson, Marielle. "”Nu fattar jag lite mer hur de verkligen hade det och varför det blev så hemskt.” : En kvalitativ studie om högstadieelevers uppfattningar av ämnet historia och om hur de ser på skönlitteratur och film i undervisningen som en väg mot ett ökat historiemedvetande." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71314.
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The purpose of this study is to contribute to an increased awareness of how students perceive the subject of history and how they approach the subject of increasing their awareness, through meeting historical characters in novels and film. I am seeking the answer to what opinions students have about studying history, what experiences they have of novels and film as a means to teaching the subject and how they look at material that give life to the thoughts and feelings of historical people, aiming to increase historical awareness. The study is based on qualitative interviews with 15 students in secondary school, The interviews are based on open questions and originate from sociocultural perspective, with its base in phenomenology. The result indicates that students perceive that studying the subject is mainly about historical facts. Several students, and especially students with Swedish as a second language and students with language difficulties, mention that the subject is linguistically difficult, with hard to understand words and phrases. This seems to obstruct an increased awareness of history. The teachers role is considered important. Their capability to interact, explain and clarify is important to bring the subject alive. Students can see the benefits of novels and film to increase historical awareness and many wish for more of that kind of tuition to increase interest and perception. However, many find it difficult to see how this will fit in the time schedule.Syftet med denna studie är att bidra med ett ökat medvetande angående elevers upplevelser av ämnet historia och om hur de ser på att öka sitt historiemedvetande genom mötet med gestaltande stoff via film och skönlitteratur. Frågorna jag söker svar på är vilka uppfattningar elever på grundskolans senare år har om ämnet historia, vilka erfarenheter de har om skönlitteratur och film i undervisningen, samt hur de resonerar om att använda skönlitteratur och film som en väg mot ett ökat historiemedvetande. Studien bygger på kvalitativa intervjuer med 15 elever från grundskolans senare år. Intervjuerna bygger på öppna frågor och utgår från sociokulturellt perspektiv samt med en fenomenologisk ansats. Resultatet visar att eleverna upplever att historieämnet främst handlar om faktakunskaper. Flertalet elever, och då särskilt elever med svenska som andraspråk samt elever med språkliga svårigheter, lyfter fram att ämnet är språkmässigt svårt med många ord och begrepp, vilket verkar försvåra vägen mot ett ökat historiemedvetande. Lärarnas roll anses viktig och då främst genom interaktion med eleverna för att förklara och förtydliga men även som den som berättar och levandegör innehållet. Elevernas tankar om skönlitteratur och film som ett medel för att nå ett ökat historiemedvetande är splittrade och även om de flesta kan se fördelen med fiktiva berättelser samt att många önskar mer av den typen av undervisning för att öka intresset och förståelsen, har de svårt att se hur det ska hinnas med.
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Caton, Hannah Noelle. "A Rhetorical Analysis of Modern Day Retro-Sexism: Misogyny Masked by Glamour in Mad Men." University of Findlay / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1439993165.
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Anthony, Tyler Robert Daniel. "Análisis de la representación de la mujer en la serie Las chicas del cable (Netflix 2017-20XX)." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu15556849066262.
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Hubbard, Jonice L. "Pioneers in Twentieth Century Mormon Media: Oral Histories of Latter-day Saint Electronic and Public Relations Professionals." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2204.pdf.
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Kujala, J. (Jukka). "Miesopettaja itsenäisyyden ajan Suomessa elokuvan ja omaelämäkerran mukaan." Doctoral thesis, University of Oulu, 2008. http://urn.fi/urn:isbn:9789514286971.
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Abstract Finnish male teacher has been viewed related to e.g. their low number, suspicions of criminal record and salary policy in the past years' teacher discussion. This educational-historical study examines Finnish male teachers' autobiographies and films on them by using narrative approach. The period in focus is the time of independence. Honest attitude towards life, an attempt to serve and please are reflected in the narratives of male teachers' autobiographies. Views on cooperation and voluntary work are emphasised in the narratives of older generation. Conflicts in working and private life increase in narratives describing the period after the war. All teacher generations mention the valuing of teachers' work but the meaning of valuing decreases towards the time of comprehensive school. Finnish school management has been remembered and investigated in the data based on both idyll and conflict. In so far as films are considered, the prevalence of conflict is significant. A mediated solution is often found for conflicts. Many films criticise school as a collective upbringing and educational community. Negative features of school are transferred to screen by many films. Based on the films, the teaching personnel seem to be divided. One group of teachers lean on to the strong institution in their use of power in educating and teaching whereas the other group of teachers presented by the films seem to understand the meaning of individual teaching and upbringing. Impression based on the watched films is that the values and aims of general school discussion are seen on the screen. At times, films also criticise school values. During the period in focus, model teaching has changed from Christianity-based model towards a pluralistic educator influenced by democracy. If films are studied based on their writers, a group of Finnish film directors seem to have a rather negative view on their male teachers. The role of female writers has also had an effect on the descriptions of males. However, the narratives of autobiographies do not strengthen the message conveyed from film texts, for there is no authority based drive towards teaching nor unreasonable keeping under discipline in teachers' narratives. In this study I investigated male teachers in historical context based on films and autobiographies. The general fading of role model and model teaching of male teachers after the war can be seen in the data. Teacher profession is becoming more and more women's profession in Finland. Current interpretation of equality regulations and salaries that are fallen behind strengthen this development. The meanings and hidden expectations set on male teachers in Finnish educational system are continuously transferred to women. Based on the data, it is possible to see the usefulness of male teacher in school. At the same time, many questionable practices that gender-based authority building can include, are seen. Male teacher in his profession has had to function under a strong obligation and control set by the society and the people using school services. This has often resulted in the forming of divided self concept. Teacher's private and working life have often been controversialTiivistelmä Viime vuosien opettajapuheessa suomalaista miesopettajaa on sivuttu muun muassa lukumääräisen vähyyden, rikostaustaepäilyjen ja palkkauspolitiikan yhteydessä. Tämä kasvatushistoriallinen tutkimus tarkastelee narratiivisessa kehyksessä suomalaisten miesopettajien omaelämäkertoja ja heitä esittäviä elokuvia. Tarkasteltava jakso on ollut maan itsenäisyyden aika. Miesopettajien omaelämäkertojen kerronnassa kuvastuvat rehellinen elämänasenne, pyrkimys palvella ja miellyttää. Vanhemmalla sukupolvella korostuvat näkemykset yhteistyöstä ja talkoohengestä. Sodan jälkeistä aikaa esittelevässä kerronnassa kasvavat ristiriidat työpaikoilla ja työn ulkopuolisessa elämässä. Kaikki opettajapolvet mainitsevat opettajan työn arvostuksesta, mutta arvostuksen merkitys vähenee peruskoulua kohden tultaessa. Suomalaista koulunpitoa on muisteltu ja tarkasteltu lähdeaineistossa niin idyllin kuin konfliktin perspektiivistä. Elokuvien osalta konfliktivoittoisuus on merkitsevää. Ristiriidoille löytyy usein soviteltu ratkaisu. Useat elokuvat kritisoivat koulua kollektiivisena kasvatus- ja koulutusyhteisönä. Koululaitoksen negatiiviset kaiut siirtyvät valkokankaalle monien elokuvajaksojen välityksellä. Opettajakunta näyttäisi elokuvien mukaan olevan kaksijakoista. Toiset tukeutuvat kasvattavassa ja opettavassa vallankäytössään vankkaan laitosinstituutioon. Toinen elokuvan näyttämä opettajaryhmä sen sijaan ymmärtää yksilöllisen opetus- ja kasvatustavan merkityksen. Katsotun elokuva-aineiston perusteella jää vaikutelma, että yleisen koulupuheen arvot ja tavoitteet näkyvät valkokankaalla. Välillä elokuva myös kritisoi koulun arvomaailmaa. Tarkasteltavalla ajanjaksolla esikuvallinen opettajuus on muuttunut kristillisyyden sävyttämästä esimerkistä kohti demokratian muovaamaa moniarvoista kasvattajaa. Mikäli elokuvaa tarkastellaan tekijälähtöisesti, on suomalaisen elokuvan ohjaajakunnalla melko negatiivinen näkemys miesopettajistaan. Naiskäsikirjoittajien kynän jälki on myös värittänyt mieskuvauksia. Omaelämäkertojen tekstit sen sijaan eivät elokuvatekstejä vahvista, sillä opettajien kerronnassa ei ole virkaintoista paloa opetustehtäviin eikä oppilaiden perusteetonta kurittamista. Tutkimuksessa tarkastelin miesopettajaa historiallisessa kontekstissa elokuvalähteitten ja omaelämäkertojen mukaan. Miesopettajien roolimalli- ja esikuvaopettajuuden yleinen himmeneminen sodan jälkeen näkyy lähteiden valossa. Opettajan ammatti on Suomessa yhä enenevästi naisten ammatti. Nykyhetken tasa-arvosäädösten tulkinta ja palkkauksen jälkeenjääneisyys varmistavat kehitystä. Merkitykset ja piilo-odotukset, joita miesopettajalle on suomalaisessa koulujärjestelmässä asetettu, siirtyvät enenevästi naiselle. Tutkimuslähteiden valossa on mahdollista nähdä miesopettajan tarpeellisuutta koulussa. Samalla on myös nähtävissä kyseenalaisia käytänteitä, joita sukupuolellinen auktoriteettimuodostus voi pitää sisällään. Miesopettaja ammatissaan on joutunut toimimaan yhteiskunnan ja koulupalveluita kuluttavan väestön vahvan velvoitteen ja kontrollin alaisena. Tämä on vaikuttanut usein kaksijakoisen minäkuvan muovautumiseen. Opettajan siviilielämä ja työelämä ovatkin usein olleet ristiriitaisia
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Maulden, Hannah Leah. "Heroes and Villains: Political Rhetoric in Post-9/11 Popular Media." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431964700.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Signorini, Annette. "All in it together." Thesis, 1999. https://vuir.vu.edu.au/33987/.
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The project, All In It Together, is part one of a three-part video documentary that
profiles the late Ted Bull (1914-1997). All In It Together focuses on Ted Bull's years as
a waterside worker and Secretary of the Melbourne Branch of the Waterside Workers'
Federation of Australia (1946-1979). Various people including retired waterside
workers speak of their personal experiences with Ted Bull whose life intersected key
historical moments in Australia's labour history. By drawing on photographic stills and
archival footage, the history of the union including its significant role in other major
political movements conveys an historical and political context relevant to contemporary
Australians.
The accompanying exegesis outlines the process of making a video documentary
that incorporates an historical focus at a time when filmmaking is more accessible.
Nevertheless, ethical and technical standards associated with bringing together an edited
version of historical events remain the same as for those filmmakers with access to
funding and more sophisticated equipment. Video as a less expensive and more
accessible medium, however remains hampered by a conservative television industry.
This, combined with accessing archival material, further impacts upon the types of
stories that can be told and from whose point of view.
Central to these concerns is the negative stereotyping of waterside workers
which has been the departure point from where others and I set out to tell a
different story about the waterfront. -----Provisional title of thesis - 'The Waterfront Years'
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Becker, Christine A. "An industrial history of established Hollywood film actors on fifties prime time television /." 2001. http://www.library.wisc.edu/databases/connect/dissertations.html.
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Brown, Parker Brandt. "Finding new representations in science and natural history film through a deconstruction of televised weather forecasting." 2008. http://etd.lib.montana.edu/etd/2008/brown/BrownP1208.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2008.Typescript. Chairperson, Graduate Committee: Ronald Tobias. Weatherscape is a DVD accompanying the thesis. Includes bibliographical references (leaves 25-26).
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Tekeste, Bereket Hagos. "The history lesson." 2010. http://hdl.handle.net/2152/10228.
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This report documents the making of the thesis film The History Lesson. This short narrative film is the final requirement for a Master of Fine Arts degree in the Department of Radio-TV-Film at the University of Texas at Austin.text
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Johnson, Peter Arne. "ABC & Wall Street: the financialization of the television audience, from broadcast to streaming." Thesis, 2021. https://hdl.handle.net/2144/42616.
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In the late 20th century, the global economy experienced a radical shift due to widespread deregulation and, subsequently, rapid financialization. Examining archival and contemporary trade magazines and corporate reports, this project considers the interconnections between television audience constructions/ratings and financial institutions amid these structural changes. In chapter one, this thesis starts by charting the pre-history of media financialization and financial stakeholders’ early influence over the radio industry and its antecedent industries (i.e., the telegraph and telephone) between 1800 and 1943. After charting a historical overview of media industries’ relationships to Wall Street, the second chapter details the financialization of the American Broadcasting Company (ABC) between 1943 and 1970 and considers the correlation between Nielsen ratings and stock prices. In the third chapter, these theories are brought into the 21st century, examining how media companies like Disney “pitch” their audiences to Wall Street and how financial incentives have led streaming platforms to engage in performative social justice in order to cater to upscale white audiences.
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Falk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.
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