To see the other types of publications on this topic, follow the link: They live by night – film.
Dissertations / Theses on the topic 'They live by night – film'
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 'They live by night – film.'
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
Kosmicki, Anne-Marie. "A la recherche d'une identité culturelle à travers le film policier français des années cinquante." Paris 3, 1996. http://www.theses.fr/1997PA030022.
Full textAbstract:
Une serie de films policiers, a la francite offensive, aux effets de genre americain, constituent le preambule a la question des emprunts au cinema. Entre les relais de genres, les titres fetiches, la legende des accords blumbyrnes resurgit ; le questionnement prend sa place au centre du deuxieme conflit mondial. La demarche devient double, conduite par l'histoire evenementielle et celle du cinema. Un corpus francais et americain est constitue en fonction de ce detour qui va des annees trente aux annees cinquante pour repondre a une etude comparative gouvernee par un seul genre en gestation : le film noir. Une reflexion sur la notion de genre s'impose. Le terrain d'etude est deja balise ; la coherence du groupe etabli. Des lors, le processus de constitution devient prioritaire, incluant les differences aussi bien que les similitudes. Une grille d'observation est adoptee : la notion de motif, fondee sur des apports theoriques interdisciplinaires, permet le reperage et le classement de recurrences visuelles ; des reseaux d'ententes se degagent sur un film et entre les films. Une synthese menee sur l'ensemble du corpus fait eclater les frontieres d'etancheite generique ou de nationalite, laissant emerger des zones d'equivalences stylistiques tandis qu'au niveau des sous-themes distinctifs, sur des formes similaires, les lectures se differencient. Ces derniers ecarts manifestent l'expression d'une tradition culturelle abordee par l'etude specifique de chaque cinema dans ses reperes institutionnels et economiques, rendus plus visibles en periode de conflits et d'urgences. Ainsi, dans un contexte de repli national, les films, nes de la guerre, affirment, par des formes symboliques dominantes, les elements d'une tradition francaise ou americaine et certains artistes, exiles, contribuent, paradoxalement, au renforcement de cette identite, laissant, au passage, les marques d'une signature interdite. Au terme de cette etude, les emprunts, rendus intelligibles, revelent l'histoire d'un genre lie a celle du cinemaA series of gangster films, overtly french but with an american touch, is used to study the question of the real degree of cultural and artistic transfer in cinema. Due to genre transfer and fetishistic titles, the legend of the blum-byrnes agreement reappears and the question takes on its full meaning in the context of wwii, the study becomes double, driven by the history of the world and the history of cinema. Taking this into account, a corpus of french and american films from the 30's, 40's and 50's is created for a comparative study of a unique genre : the film noir. The genre has been studied and its cohesion has been established, so the analysis of its genesis and evolution, with its similarities and its differences, is of primary importance. An observational grid is developed. The notion of motif, defined by interdisciplinary theories, allows the identification and classification of visual recurrences ; thematic networks become apparent within films and between films. A synthetic study of the whole corpus breaks down the barriers of genre and nationality and stylistic equivalents emerge, even though there are differences for similar forms at the subthematic level. These distinctive elements reveal the existence of separate cultural traditions which can be studied taking into account institutional and economic markers, particularly salient in times of national urgency. Thus, the films produced during the war in a context of isolationism confirm a specific french or american tradition through their dominant symbolic forms ; with certain exiled artists paradoxically reinforcing national identity by leaving a "forbidden" signature somewhere in their film. In the end, the cultural transfers which have been established reveal the history of a genre which is part of the history of cinema
2
Whalley, James. "Saturday Night at the Movies : Saturday Night Live, Star Comedians and Contemporary Hollywood." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514263.
Full textAbstract:
The subject of this thesis is the role of television programme Saturday Night Live (or SNL) in launching the careers of a significant number of Hollywood film stars over the last three decades. Started in 1975, SNL is a 90-minute comedy variety show broadcast live by the American television network NBC. Since its inception, it has employed regular casts of performers to present comic sketches. Several cast members, including John Belushi, Bill Murray, Eddie Murphy, Billy Crystal and Adam Sandler, have converted their exposure on the show into film stardom. In exploring the nature of SNL stars' appeal to Hollywood's filmmakers and audiences, the thesis primarily engages in two areas of debate. Firstly, it seeks to continue historicising what has been termed the "comedian comedy tradition" in Hollywood film. It has been noted that the Hollywood film industry has repeatedly turned to comic performers from other media with already well-defined, popular extra-fictional personas for use as star attractions. Certain consistencies have been found in the industry's approach to converting comedians' appeals for presentation within narrative fiction. However, approaches are also affected by historically specific industrial and social factors. I argue that the stars of SNL were instrumental to the development of a new variant of the comedian comedy tradition. Secondly, I suggest that the most important factor in explaining the nature of SNL's influence is shifts in social and cultural values in America since the 1960s. The personas of SNL stars I examine reflect trends in American public opinion connected to generational change. SNL has now employed cast members from across the baby boom generation (those born between 1943 and 1964) and Generation X (1965 to 1982). To consider the impact of generational factors, my analysis is centred around two case studies, the careers of Bill Murray and Adam Sandler.
3
Henderson, Tasha Joi. "Blood Night." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/158.
Full text
4
Johnson, Jessica D. "GRAD NIGHT." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/923.
Full textAbstract:
A coming of age dramedy in the vein of "American Graffiti" taking place in a modern, urban setting. Grad Night is about three graduating seniors trying to pull off the most epic senior prank of all time but it backfires into lessons that go far beyond high school.
5
Jordan, Kelly. "The morning after (the night before) : emancipating spectators in participatory live art." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/17609.
Full textAbstract:
This thesis develops a theoretical framework for the analysis of spectator-participation in live art by examining the performance practices of Guillermo Gómez-Peña's La Pocha Nostra, Marina Abramović, and Gob Squad. It explores the potentialities and limitations of participation from all sides of the performance border, drawing on my experiences as a performing-spectator, watching-spectator, and as an artist-collaborator with La Pocha Nostra. Unravelling the relationship between these roles, it reveals how participation can create a new hierarchy amongst spectators. The thesis offers a new way of looking at the phenomenology of participatory live art by determining these encounters as a complex network of contradictory and interdependent relations, underlined by the "paradox of participation": the duality of holding the position of both performer and spectator at the same time. Accordingly, it argues that these performances constitute a "symmathesy" of participation, to use Nora Bateson's term, which should be viewed as a whole experience rather than as a series of parts. Advancing on from "the emancipated spectator", as outlined by Jacques Rancière, the study reconsiders its meaning within live art. In doing so, it demonstrates how ritual, presence and ethics converge to underpin the transformative and emergent processes that foster and manage participation, while acknowledging the way that imposed sanctions serve to uphold the performance. Moreover, it maintains that spectator-participation has developed into a practice in its own right, and charts the birth of a new breed of spectator who anticipates the possibility of co-creation. It recognises several emerging types of participant, namely the "expert participant-spectator" and the more transgressive "dis-spectator". The thesis establishes that participation can offer spectators a licence to act in ways outside of their everyday political and social reality, at the same time; it calls attention to the lack of consideration and after-care given to spectators post-participation.
6
Lang, Ruth E. "Sleepless night in the middle of nowhere (short film project)." Connect to resource, 2009. http://hdl.handle.net/1811/38886.
Full text
7
Price, T. "The politics of culture : 'Saturday night and Sunday morning'." Thesis, University of Nottingham, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380137.
Full text
8
Buffa, Gabriele. "A Night´s Portrait." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371122.
Full text
9
Miller, Paige Thomason. "Live From New York and Straight to Washington: an Explorative Study of Internet Audience Perceptions of the Portrayals and Appearances of Presidential Candidates on Saturday Night Live." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115121/.
Full textAbstract:
This thesis examines if and how the Internet viewers of Saturday Night Live skits were influenced by the video skits. the viewers’ online comments were read, categorized and analyzed for content to explore and discuss how the viewers “read” the text of the online video skits. Each video in which candidates John McCain, Sarah Palin, Hillary Clinton and Barack Obama appeared is summarized and analyzed through viewers’ comments. a sample of skits including actors’ portrayals of McCain, Palin, Clinton, Obama and Joe Biden is also summarized and analyzed to find and discuss how the viewers’ perceptions were influenced by the portrayals.
10
Shapiro, Amanda J. "You Only Live Twice: The Representation of the Afterlife in Film." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/280.
Full textAbstract:
The objective of this thesis is to examine and analyze the presentation of spaces, figures, and the processes of judgment in afterlife films. American and foreign titles as well as television series are assessed as afterlife films by two criteria: (1) A character has clinically died yet continues to exist and (2) a living character finds his or her self in an afterlife space. Films with characters that have near-death experiences (NDEs) are included in relation to the above three qualities. After screening nearly one hundred and thirty titles, I have found there is a basic formula structure that has been expanded and transformed into seven other structures, plus those that are combined for a unique narrative. The afterlife corpus is divided into five distinct eras by the quantity of releases that fluctuate in accordance with 20th and early 21st century cultural anxieties and technological advances. A secondary argument proposes why the afterlife story is perfectly suited to the film medium plus why the industry and audiences are incessantly drawn to the afterlife film premise. The afterlife film perpetuates universal and age-old questions on the significance of life and death in the guise of enticing sights and stories. Each afterlife film may have its own identifiable design and theme but they are connected to higher concerns of mortality and second chances.
11
Wright, Jeffrey D. "Midnight Medford : a case study of dramatic television direction, from live to film /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1328049521&sid=26&Fmt=2&clientId=1509&RQT=309&VName=PQD.
Full text
12
Tornberg, Aron, and Sofia Wennström. "Development and Research in Previsualization for Advanced Live-Action on CGI Film Recording." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-137670.
Full textAbstract:
A major disadvantage of shooting on green screen with CGI is that the director cannot see or interact with the virtual elements in the scene and thus get a realistic view of how the end result will look like, and also not being able to make changes as necessary by moving objects and actors around during the shooting session. This disadvantage can be mitigated by the use of previsualization where the director is given a rough take of what the final cut will look like by combining the filmed material with the virtual environment in real-time. This masters thesis work aims to come up with solutions for improving the film studio Stiller Studioss previsualization system. This involves a review and integration of game engines for previsualization in a motion control green screen studio, a camera calibration process with blur detection and automatic selection of images as well as research into camera tracking and depth compositing.
13
Wagenheim, Christopher Paul. "From Night to Dawn: The Cultural Criticism of George A. Romero." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3823.
Full textAbstract:
Analyzing George A. Romero's Night of the Living Dead (1968) and Dawn of the Dead (1978) in relation to the early works of Marshal McLuhan, Erich Fromm, and Herbert Marcuse reveals an ideological parallel that can be explicated using Antonio Gramsci's theory of cultural hegemony. While McLuhan, Marcuse, and Fromm observe, in order to critique, social manifestations of power in a consumerist system, Romero presents a model of hegemony in his films that he exposes to extreme stress thereby allowing viewers to observe such manifestations of power for themselves. These analyses are significant because although Marcuse, McLuhan, Fromm, and Romero present congruous ideologies, scholars of Dawn of the Dead and Night of the Living Dead have failed to recognize cultural hegemony as the source of the psychosocial criticism within each film.
14
Drake, Erin R. "Queer Narratives in Disco Films: Saturday Night Fever, Xanadu, and Beyond." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1564509293047689.
Full text
15
Sathe, Namrata. "You Only Live Once: Bollywood, Neoliberal Subjectivity and the Hindutva State." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1812.
Full textAbstract:
In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to transform the country into a thriving superpower is visibly cracking. Social reality has not kept up with the promises afforded by economic liberalization. The increasing wealth gap and the dangerous marriage between neoliberalism and right-wing politics has created public culture of everyday violence, divisiveness, and despair. In this dissertation, I examine how recent mainstream Hindi cinema has responded to India's neoliberal turn. My work is based on the premise that the cinema of the past two decades is a record of social history. The major themes I focus on are the pervasiveness of neoliberal values into everyday life and work and the consequent formation of a neoliberal subjectivity. I also focus on how forms of neoliberal selfhood contend with existing social structures of caste, class, sexuality and religious identity in India. Finally, I lay out the interconnections between the recent rise of Hindu fundamentalism in India, popular cinema and neoliberal culture.
16
Solis, Israel. "(Re)Creating a Hero's Narrative through Music: Different Musical Landscapes in Six Live Action Batman Films." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311589.
Full textAbstract:
This dissertation uses an interdisciplinary approach that analyzes and compares the film scoring processes of Danny Elfman, Elliot Goldenthal, James Newton Howard and Hans Zimmer in characterizing the fictional hero Batman in film. This is accomplished by applying Classical Hollywood film scoring principles from the golden age of cinema, Juan Chattah's pragmatic and semiotic typologies regarding musical metaphoric expression, and psychology. This amalgamation demonstrates how the aforementioned film composers consider varying structural aspects of their music, i.e., formal design, melodic contour, harmonic gestures, and cadential formulas, in (re)creating and establishing their individual artistic trademarks on a comic book character within canonical and non-canonical storylines. The study includes soundtracks from Tim Burton's Batman and Batman Returns, Joel Schumacher's Batman Forever and Batman & Robin, and Christopher Nolan's Batman Begins and The Dark Knight. The result is an analysis that: 1) enhances what little is known about the music for these films; 2) allows for the recognition of the film scoring creative process behind film sequelization; 3) enhances musical and psychological interpretations of the Batman character; and 4) offers an expansion of Chattah's metaphorical typologies.
17
Finkelstein, Seth. "Toonmates." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/987.
Full textAbstract:
It's a dream come true when flesh-and-blood fanboy Alex Kepple moves in with cartoon former child star Roy Thompson. Now, he just has to hide that his family are the ones gentrifying the toon town he now calls home.
18
Bondesson, Jonathan. "Hör Färger och Se Ljud : Vad händer när jag kombinerar flamencogitarr och film i ett live-framträdande?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2838.
Full textAbstract:
Hear Color and See Sound - What happens when I combine flamenco guitar and film in a live performance? This master thesis explores the combination of two art forms. The purpose is to use live projections to enhance my guitar composition with movie. My research question is: what happens when I combine flamenco guitar and film in a live performance? I explore if visual qualities add a deeper meaning to my instrumental music by experimenting with color science and video telling/editing techniques. I’ve tested through surveys and live performances if the audience perceive my music differently, by showing contrasting footage or footage that synchronize with my musical compositions. Resulting in an exam concert where I control the prerecorded video compositions with a touch screen interface through the video-jockey software Resolume, while also performing the music (which have been timed for the videos) live together with a flamenco singer and dancer.
19
Mendes, Gil Ines. "L'atmosphère au cinéma : le cas de La Nuit du chasseur de Charles Laughton entre onirisme et réalisme." Paris 8, 2002. http://www.theses.fr/2002PA082148.
Full textAbstract:
Etudier comment s'exprime l'atmosphère au cinéma et comment elle est perçue par le spectateur implique l'analyse systématique d'une série de principes cinématographiques. D'abord, l'atmosphère spectatorielle regarde le rapport de croyance que le public entretient avec le film. L'impression de réalité, les phénomèmes d'identification et de distanciation, et le caractère onirique de l'image filmique sont développés en fonction de leur contribution à la création de l'atmosphère cinématographique. Dans l'atmosphère filmique, c'est la représentation du film qui est analysée. Elle se divise en deux catégories principales : l'atmosphère visuelle (des premiers films coloriés et teintés, du jeu de l'acteur, des divers types de cadrages et mouvements de caméra, des figures filmiques temporelles) et l'atmosphère sonore (la musique, les voix, les autres bruits et le silence). Tous participent à la formation de l'atmosphère d'un film. Après une étude générale des éléments constitutifs de l'atmosphère filmique, les principes développés dans la première partie seront appliqués à une oeuvre en particulier : La Nuit du chasseur de Charles Laughton (1955). Adapté du roman de Davis Grubb, ce film a une place unique dans l'histoire du cinéma car il présente une atmosphère riche et complexe qui bascule souvent entre un univers onirique et un monde réaliste.
20
Döge, Klaus-Peter. "Ein Beitrag zur videobasierten Verkehrszustandsidentifikation: Automatische Stauerkennung anhand von Live-Kamera-Bildern des Straßenverkehrs." Doctoral thesis, Technische Universität Dresden, 2004. https://tud.qucosa.de/id/qucosa%3A24479.
Full textAbstract:
The presented work wants to contribute a new solution based on the analysis of stochastic signals. On the basis of the Dresden Live-Camera-System which is providing real-time information about the traffic state on 31 focal points (March 2005) one is able to use a wide range of image types under different and severe conditions. The method is based on the analysis of stochastic signals derived from the live-camra images. These signals are analyzed with cross-correlation, amplitude- and frequency filters. The resulting data enable the distinction of stable and non-stable traffic flow and the automated identification of traffic congestion. Moreover fundamental diagrams are calculated.Die vorgelegte Arbeit beinhaltet ein neuartiges Verfahren zur automatischen Ermittlung des Verkehrszustandes aus Live-Kamera-Bildern. Die Datengrundlage dafür liefert das im Rahmen des BMBF-Leitprojektes intermobil Region Dresden geschaffenen Live-Kamerasystem mit 31 Standorten (Stand März 2005). Das entwickelte Verfahren basiert auf der Analyse stochastischer Signale, die aus den Kamerabildern ermittelt werden. Die methodischen Grundlagen des Verfahrens sind Korrelationsanalyse sowie Amplituden- und Frequenzfilterung. Die Rahmenbedingungen für den praktischen Einsatz sind durch die Variabilität von Auflösung und Blickwinkel an den unterschiedlichen Kamerastandorten geprägt. Die ermittelten Messwerte ermöglichen eine Unterscheidung der Verkehrszustände "flüssiger Verkehr", "zähflüssiger Verkehr" und "Stop&Go" und werden am Fundamentaldiagramm interpretiert.
21
Paton, Garth. "An exploration of the construction of a relationship between video (videographer) and live performance (theatre-maker/performer) and how the two art forms may inform each other." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/10764.
Full textAbstract:
Includes bibliographical references (leaves 29-31).It is my intention to use video in a theatre setting to make visible what is not, to provide alternate views of reality and live action, and to create a heightened awareness of the medium through its use in an unconventional setting and in ways different to those that we are familiar with. It is my hope that through careful negotiation with the theatre-maker/choreographer, its use with live action will have an enhancing effect, perhaps leading to a more visceral theatre. The theory best serving to assist my attempts in terms of placing them into the academic continuum of other such endeavours and practitioners, is postmodern. Although the use of film and video in performance settings has become more general in the past three decades due to the accessibility of equipment, its use dates back to the beginning of film. This use has always been contentious, where it was often felt that the combining of a 'low' art, such as film was seen to be, with theatre, would have a diminishing effect on the latter.
22
Lindholm, Anne. "Evolution of the Dead : Stil, social funktion och realism i modern zombiefilm." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2613.
Full textAbstract:
Inledning
The horror of the zombie movie comes from recognizing the human in the monster; the terror of the zombie movie comes from knowing there is nothing to do about it but destroy what is left; the fun comes from watching the genre continue to develop. Although zombies are technically dead, their cinematic genre is a living, breathing entity that continues to grow and evolve.
Citatet taget ur Kyle Bishops artikel ”Raising the dead” öppnar upp för en intressant diskussion angående utvecklingen av zombiefilm. De flesta i en skräckfilmspublik kan på ett fåtal sekunder med säkerhet peka ut en zombie på vita duken. Även filmad i long shots och i extreme long shots kan till och med den åskådare som är relativt ny för genren känna igen zombien. De tydliga rörelsemönstren med långsamma släpande steg och ryckiga rörelser tillhör förväntningarna kring hur zombies ska bete sig, men ser zombien verkligen ut så idag? Om en publik förväntar sig se dessa stildrag när de bänkar sig för att titta på en zombiefilm gjord under 2000-talet är det vad de möter? Visst kan man ännu se grunden till dessa manér även i zombies av idag men dock med ett flertal modifieringar. Den klassiska bleka sminkningen tillsammans med ett lika klassiskt rörelsemönster som sedan Night of the Living Dead (George A. Romero, 1968) har definierat zombien inom filmens värld befinner sig i en ständig transformation. Denna uppsats kommer att granska film och litteratur i ett försök att bena ut de olika stilistiska och sociala förändringar som zombien genomgått från 1968 fram till idag.
23
Kähkönen, Christian. "How to create a 3D character model for a pre-existing live action film, that matches the characteristics of the intellectual property and the visual style of the chosen film." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1473.
Full textAbstract:
My aim is to find out how to create a 3d character model for a pre-existing live action film, give this character characteristics that match the intellectual property and follow the visual style of the chosen film. For my example in this degree project, I chose Disney's adaption of John Carter of Mars. I used my own pipeline, which is a collection of work methods from different artists, for the creation of the example 3d character model. Though with a limit of bringing the model through the first two steps, as I focus on the constraint of this thesis work. In order to create this model, I researched the universe of John Carter, and the visual style of the film, and from that knowledge I designed a character to create a 3d model of. The finished 3d character model of this degree project was then compared to models from the production of John Carter of Mars, both by the author and through a survey to evaluate the result.
24
Hales, Christopher. "Rethinking the interactive movie : a practical investigation demonstrating original and engaging ways of creating and combining 'live action' video segments under audience and/or computer control." Thesis, University of East London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532628.
Full text
25
Chen, Amber Marie. "Developing and Studying the Effectiveness of EFR Annotations for Chinese Language Learners." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2299.
Full textAbstract:
This project is intended to take the film To Live, directed by Zhang Yimou, and apply the Electronic Film Review (EFR) approach to it in a Chinese as a Foreign Language (CFL) setting. The Electronic Film Review project, developed by Alan K. Melby, is aimed at providing a superior language learning experience for Americans learning Chinese. Using feature films as a teaching tool has been found to stimulate and motivate students to achieve higher language levels, but in order for optimal learning to occur the material must be challenging yet accessible to the student. Most feature films, by themselves, are too advanced for the average language learner. The EFR approach provides annotations designed specifically for the feature film with the language learner in mind. These annotations can include access to vocabulary helps, grammar and cultural notes in order to bridge the gap between the learner and the film. It does not alter the film itself. This approach has been used with ESL students (English annotations), French language learners, and with Korean ESL learners (Korean annotations), but has not been developed for students learning Chinese. The purpose of this project is not only to apply the technology of the Electronic Film Review program to a Chinese film for the purpose of aiding Chinese language learners, but also to critique whether or not the tool is effective in helping students to gain better listening comprehensions skills and therefore ultimately better language skills. Previous studies have not shown clear results on this issue. This thesis will briefly review what the EFR project is and how it has been used with other films and languages as well as the findings up to this point. Then it will look at the effects of annotations on several aspects of listening comprehension as well as student preferences and reactions. It will then evaluate the results collectively to determine whether students watching the film without the help of EFR annotations show differing levels of listening comprehension achievement when compared with those using the EFR tools. Suggestions will be made for further improvements.
26
Kourtoglou, Zoi. "THE BIOPOLITICS OF DOMESTIC WORK AND THE CONSTRUCTION OF THE FEMALE 'OTHER' : REIMAGINING SPACES, LABOR, AND REPRESENTATIONS OF LIVE-IN DOMESTIC WORKERS IN FILM." Thesis, Stockholms universitet, Filmvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-149493.
Full textAbstract:
Representations of female characters in cinema have the effect of othering the female in front of the viewer’s gaze. Women’s characters are constructed along the lines of their gender and race difference. In this paper I focus entirely on the character of the woman domestic worker in four films: Ilo Ilo, The Second Mother, The Maid, and At Home. The paper aims to provide a different reading of this mostly trivialized character and rethink its otherness by pinpointing it in biopolitical labor and homes of biopower, namely of affect and oppression. I am interested in how labor can reconfigure the domestic space to a heterotopia, or what I call a ‘heterooikos’, which is the space occupied by the other. Finally, I will attempt an analysis that reimagines otherness captured by cinema, by locating, in the film text, techniques of resistance as a countersuggestion to techniques of character identification. My aim is to provide a different way to interact with subaltern subjects in film by recognizing otherness as part of an ethical response.
27
Amalou, Quentin. "Vivre et laisser mourir : Le ciné-concert et ses publics sour le regard des sciences sociales." Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1171/document.
Full textAbstract:
Cette thèse présente les résultats d’une recherche portant sur les ciné-concerts (séance decinéma accompagnée musicalement en direct par un ou plusieurs musiciens) et ses publics.À l’aide d’une analyse sur les relations qu’entretiennent musique et cinéma et d’un examendes circonstances de la naissance des ciné-concerts aux alentours des années 1980, ce travails’attache à montrer comment le ciné-concert devient un mythe au sens où l’entend RolandBarthes élaboré autour de deux promesses : le ciné-concert est une plongée au cœur del’histoire du cinéma et une expérience spectatorielle inédite pour les publics. À partir d’uneréflexion sur les liens qu’entretient le ciné-concert avec le développement numérique dessalles de cinéma, nous comprendrons comment, tout en étant une expérience qui prend sesracines dans le passé du cinéma, c’est d’une expérience nouvelle de spectateur qu’il estquestion. Enfin, nous analyserons les liens qu’entretient cet événement avec la cinéphilie,avec la mélomanie, et enfin comment son inscription à l’éventail des pratiques culturellesparticipe au brouillage des frontières symboliques de la légitimité culturelleThis thesis presents the results of a research about film-concerts (a movie screening wherethe music is played live by one or many musicians) and its audiences. Through an analysisof the relationship between music and cinema as well as a study of the conditions of theemergence of the film-concert around the year 1980, this work shows how the film-concertbecame a myth as per Roland Barthes’ definition. The myth is built around two promises:the film-concert allows the audience to dive into the history of cinema as well as being abrand new cultural experience. Starting from a reflection about the links between filmconcertand the digitalization of cinema, the work will show how, while this event takes itsroots from the origin of cinema, it is a new experience for the audience. Then, we willanalyze how film-concert modifies the relationship between an audience member andcinema as well as his relationship with concert and the orchestra to finally show going tofilm-concerts modifies the symbolic boundaries of cultural legitimacy
28
Brockman, Kristin Marie. "Constructive Alienation and Terror: An Analysis of Martha Rosler’s A Simple Case for Torture (Or How to Sleep at Night) (1983), Harun Farocki’s Inextinguishable Fire (1969), and Eye/Machines (2001-3)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147844234.
Full text
29
Delgado, Benjamin Fernando. "The Cinema is Dead. Long Live the Cinema: A Multiple Case Study of the Connection Between Community and Transitional Cinemas." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372777410.
Full text
30
Leopold, Amanda A. "Dealing with the Digital: Literary Media, Mediated Narratives, and Sketchy Politics." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495718816858325.
Full text
31
Carvalho, Alexandre da Silva. "Cinevivo." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01122010-101126/.
Full textAbstract:
Esta dissertação tem como objetivo o relato das apresentações de Fluidos, o primeiro projeto realizado no formato CineVivo. Trata-se de uma experiência inédita de longa-metragem realizado ao vivo, com captação, edição e exibição simultâneas. Em diversas locações, atores encenam a história de ficção captada por três câmeras. Essas imagens são transmitidas para a edição em tempo real e a exibição para os espectadores na sala de cinema. As apresentações aconteceram no Centro Cultural São Paulo, no Sesc Pompeia e no CineSESC entre o período de maio de 2009 a maio de 2010. Em anexo, encontram-se o último tratamento do roteiro, o DVD com a versão apresentada no CineSESC e as principais reportagens publicadas na mídia.The aim of this dissertation is to report the exhibitions of Fluids. This is the first project completed in the format CineVivo. It is a new experience for feature film performed live, with capture, editing and projection simultaneously. At several locations, cast acts the story captured by three cameras that transmit live for realtime editing and projection in the theater. The film was screened at Centro Cultural São Paulo, SESC Pompeia and CineSESC, between May 2009 to May 2010. Attached the last screenplays treatment, DVD with the version presented in CineSESC, and main reports in the media.
32
Keady, Stephen. "Working-class Culture and Work as portrayed in Texts and Films of Alan Sillitoe´s "Saturday Night and Sunday Morning" and "The Loneliness of the Long Distance Runner"." Doctoral thesis, Universitat de Barcelona, 2008. http://hdl.handle.net/10803/132282.
Full textAbstract:
My aim is to recreate from the texts and films the world which is shown, and then examine it in order to demonstrate a number of points. I hope to show that there is such a phenomenon as an English working class, and that this class has its own culture. This culture is different from, and in many ways opposed to, the “high” artistic culture of the elite, but is not a culture of lack, as in “lack of culture”. It is rather a creation of the working class themselves and serves as a positive force in their lives, which are again different from and frequently opposed to the lives of the upper and middle classes. It is also resistant to the mass culture and the ideology which this conveys, or is argued to convey, and these resistant attitudes form part of the working-class culture.
Work plays an important part in the lives of Sillitoe´s characters, and this activity has been consistently neglected in English literature, at least as regards the working class. Despite views which represent the post-war working class in England as less cohesive and more individualistic, I argue that the way that Sillitoe´s characters live and think about their lives reflects the previous history of the working class, and the attitudes revealed had been developed over more than a century. Rather than being an isolated picture of two disconnected individuals, the works represent a point in a continuum of literature about the working class, a continuum which has been extended not least by Sillitoe himself.
I include the films in this thesis for a number of reasons. The films are closely linked to the books not only through contemporaneity and the fact that Sillitoe wrote the screenplay for both, but also through the Free Cinema movement. This, I argue, can be seen as the cinematic counterpart to the Angry Young men in literature, and these two movements were and are closely interwoven in the cultural event of the late 50s/early 60s in England, and thus are considered from the same point of view as the books.
The structure of this work is as follows: in the first part I give a brief outline of the Industrial Revolution in England, and the changes which it produced in society, especially in the political, educational and cultural fields. The key words in the title of this thesis, “work”, “culture”, “class”, are all complex, open to multiple interpretations, and all have their roots in the Industrial Revolution. This leads me to the development of the idea of culture and the development of cultural studies as a discrete field of enquiry. I examine the literature produced by and about the working class, with particular reference to the work itself.
In the second part I look at the cultural production in wartime and post-war England, which includes the work of those writers usually grouped together as the Angry Young Men, to give the social and cultural background against which Sillitoe wrote the works to be studied. This takes me on to the books themselves, with particular attention paid to the role of work and culture, in its various meanings, which will include the ideology to which the characters are subjected.
In the third part I examine the two films, both as a development of the Free Cinema movement and in the same terms as used for the books, namely in terms of the portrayal of the two main characters in their respective roles in society and their reactions to the ideology of that society, and also in terms of their portrayal of culture.
Finally, some conclusions are drawn, in which the main point is that Sillitoe showed in these two works that the working class have their own culture and ideology, and that these are different from and opposed to the culture and ideology which are dominant in the society in which they live.Mi objetivo es recrear desde los textos y películas el mundo allí mostrado, y examinarlo a continuación para llegar a demostrar algunos puntos. Espero demostrar que el fenómeno denominado clase obrera existe como tal, y que esta clase tiene su propia cultura. Esta cultura es diferente de, y en muchos sentidos opuesta a la “alta”cultura artística de la élite, pero no es una cultura de carencia, como en “falta de cultura”. Es más bien una creación de la propia clase obrera y sirve como una fuerza positiva en sus vidas, que son también diferentes de y con frecuencia opuestas a las vidas de las clases medias y altas. También mantiene una resistencia frente a la cultura de masas y la ideología que conlleva, o dice conllevar, y estas actitudes de fuerza forman parte de la cultura de la clase obrera. El trabajo tiene un papel importante en las vidas de los personajes de Sillitoe, y esta actividad ha sido continuamente negada en la literatura inglesa, al menos en lo que se refiere a la clase obrera. A pesar de las opiniones que presentan la clase obrera inglesa de la post guerra como menos cohesionada y mas individualista, sostengo que el modo en que los personajes de Sillitoe viven y piensan sobre sus vidas refleja la historia previa de la clase obrera, y las actitudes mostradas se han desarrollado a lo largo de mas de un siglo. Mas que ser un retrato aislado de dos individuos inconexos, las obras representan un punto en un continuum de literatura sobre la clase obrera, continuum que en buena parte se ha extendido por el propio Sillitoe. Incluyo las películas en esta tesis por una serie de razones. Las películas están estrechamente relacionadas con los libros no solo por la contemporaneidad y el hecho de que Sillitoe escribiese los guiones de ambas, sino también a través del movimiento del Free Cinema. Esto, sostengo, puede considerarse como el equivalente cinematográfico de los Angry Young men en literatura, y estos dos movimientos estaban estrechamente entretejidos en el evento cultural de finales de los 50/comienzos de los 60 en Inglaterra, y por tanto son considerados desde el mismo punto de vista que los libros. La estructura de este trabajo es la siguiente: en la primera parte hago un breve resumen de la Revolución Industrial en Inglaterra, y los cambios que produjo en la sociedad, especialmente en los campos de la política, la educación y la cultura. Las palabras clave en el título de esta tesis (“trabajo”, “cultura” “clase”), son todas complejas, abiertas a múltiples interpretaciones, y todas tienen sus raíces en la Revolución Industrial. Esto me lleva a desarrollar la idea de la cultura y el desarrollo de los estudios culturales como un campo distinto de la investigación. Examino la literatura producida por y sobre la clase obrera, con referencia particular al propio trabajo. En la segunda parte atiendo a la producción cultural en Inglaterra durante y después de la guerra, la cual incluye la obra de aquellos escritores que generalmente están agrupados como “the Angry Young Men”, para mostrar el ambiente contra el que Sillitoe escribió los libros examinados. Esto me lleva a los libros mismos, poniendo especial atención en el papel del trabajo, y la cultura en sus diferentes significados, lo cual incluye la ideología a la que los personajes están sujetos. En la tercera parte, examino las dos películas, como una evolución del movimiento del Free Cinema, y en los mismos términos usados para los libros, a saber, la descripción de los dos protagonistas en sus papeles respectivos en la sociedad y sus reacciones a la ideología de esa sociedad, y también en la descripción de la cultura. Finalmente, se sacan unas conclusiones, en las cuales el punto principal es que en estas dos obras Sillitoe demostró que la clase obrera tiene su propia cultura e ideología, y que éstas son diferentes y opuestas a la cultura e ideología dominantes en la sociedad en que viven.
33
Vandorpe, Dries. "The Archaeology of Liveness." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.
Full text
34
McCosham, Anthony. ""This is generally followed by a blackout" power, resistance, and carnivalesque in television sketch comedy /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174927139.
Full text
35
Ratcliffe, Gavin M. "Parental Advisory, Explicit Content: Music Censorship and the American Culture Wars." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1467141078.
Full text
36
Alsén, Emelie. "Prinsessa i tiden : En kvalitativ innehållsanalys av skillnader i hur två klassiska Disneyprinssessor gestaltas i de animerade originalfilmerna jämfört med deras nya spelfilmer utifrån ett genusperspektiv." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36140.
Full textAbstract:
This study has analysed the dialogue in two of the oldest Disney animated movies with a princess in the lead role, Cinderella from 1950 and Sleeping beauty from 1959 and compared them with their new live action remakes, Cinderella from 2015 and Maleficent from 2014, from a gender perspective. The purpose was to find out if there has been a change in the way the princess was shaped based on their personality and their relation with the prince. Selected scenes have been transcribed from the four films and through a qualitative content analysis they have been coded based on a code scheme. The analysis has been based primarily on Rönnberg's theory of feminine role types in film and Yvonne Hirdman's gender contract. Davies 'previous research on stereotypes in fairy tales and England, Descartes and Collier-Meek and Hine´s et al. study about gender in Disney movies through the ages also support the interpretations of the analysis'. The results show that both of the older animated films portray the princesses based on a more stereotypical image of women and from a perspective where men are superior and the heroes in the story. In the live action movies, the stereotypical feminine image of the princesses has developed. In Cinderella, the main character develops during the film. At first the main character Ella shows similarities with the classic Cinderella which is very gender stereotypical. During the film, the character of Ella changes and in the end, she finally dares to stand up for herself which is a big change compared to the classic movie. In Maleficent, on the other hand, Princess Aurora is portrayed in a completely different way compared to classic Sleeping Beauty. This movie shows a side that is not as stereotypically feminine. Aurora is not saved by a prince, she is curious and dreaming of taking over the magical land that Maleficent comes from. The change you can see in the result indicates a social change in the way of how men and women are viewed. The live action movies show a world where women are allowed to take more space, be strong for themselves and have dreams that do not involve a prince.Den här studien har analyserat dialogen i två av de äldsta animerade originalfilmerna från Disney med en prinsessa i huvudrollen, Askungen från 1950 och Törnrosa från 1959. Därefter har de jämförts med deras nyutgivna spelfilmer, Berättelsen om Askungen från 2015 och Maleficent från 2014, ur ett genusperspektiv. Syftet var att undersöka om det skett en förändring i hur prinsessans personlighet och hennes relation med prinsen gestaltas mellan filmerna. Utvalda scener har transkriberats från de fyra filmerna och genom en kvalitativ innehållsanalys har de kodats utifrån ett kodschema. Analysen har därefter baserats framförallt på Rönnbergs teori om feminina rolltyper i film samt Yvonne Hirdmans genuskontrakt. Davies tidigare forskning om stereotyper i sagor samt England, Descartes och Collier-Meek och Hines et al. studie om genus i Disneyfilmer genom tiderna stöttar också analysens tolkningar. Resultatet visar att båda de äldre animerade filmerna gestaltar prinsessorna utifrån en mer stereotyp bild av kvinnor samt utifrån ett perspektiv där männen är överordnade och hjälten i historien. I de nya spelfilmerna har den stereotypa feminina bilden av prinsessorna utvecklats. I Berättelsen om Askungen utvecklas huvudkaraktären under filmens gång. Huvudkaraktären Ella visar till en början stora likheter med den klassiska Askungen som är väldigt könsstereotypiska. Under filmens gång får man följa en förändring i Ella och i slutet vågar hon äntligen stå upp för sig själv vilket är en stor förändring i jämförelse med den klassiska filmen. I Maleficent däremot, gestaltats prinsessan Aurora på ett helt annat sätt i jämförelse med klassiska Törnrosa. Filmen visar en sida av Aurora som inte är lika stereotypiskt feminint. Aurora blir inte räddad av en prins, hon är nyfiken och drömmer om att själv ta över det magiska landet som Maleficent kommer ifrån. Den förändring man kan se i resultatet tyder på en samhällelig förändring i hur man ser på män och kvinnor där kvinnor tillåts ta mer plats, vara starka i sig själva och ha drömmar som inte involverar en prins.
37
Kobayashi, Saki. "“Pansarskeppet kvinnligheten” deconstructed : A study of Eva Dahlbeck’s stardom in the intersection between Swedish post-war popular film culture and the auteur Ingmar Bergman." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157390.
Full textAbstract:
Eva Dahlbeck was one of Sweden’s most respected and popular actresses from the 1940s to the 1960s and is now remembered for her work with Ingmar Bergman, who allegedly nicknamed her “Pansarskeppet kvinnligheten” (“H.M.S. Femininity”). However, Dahlbeck had already established herself as a star long before her collaborations with Bergman. The popularity of Bergman’s three comedies (Waiting Women (Kvinnors väntan, 1952), A Lesson in Love (En lektion i kärlek, 1954), and Smiles of a Summer Night (Sommarnattens leende, 1955)) suggests that they catered to the Swedish audience’s desire to see the star Dahlbeck. To explore the interrelation between Swedish post-war popular film culture and the auteur Bergman, this thesis examines the stardom of Dahlbeck, who can, as inter-texts between various films, bridge the gap between popular film and auteur film. Focusing on the decade from 1946 to 1956, the process whereby her star image was created, the aspects that constructed it, and its relation to her characters in three Bergman titles will be analysed. In doing so, this thesis will illustrate how the concept “Pansarskeppet kvinnligheten” was interactively constructed by Bergman’s films, the post-war Swedish film industry, and the media discourses which cultivated the star cult as a part of popular culture.
38
Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.
Full text
39
Tay, Geniesa. "Embracing LOLitics: Popular Culture, Online Political Humor, and Play." Thesis, University of Canterbury. Media and Communication, 2012. http://hdl.handle.net/10092/7091.
Full textAbstract:
The Internet, and Web 2.0 tools can empower audiences to actively participate in media creation. This allows the production of large quantities of content, both amateur and professional. Online memes, which are extensions of usually citizen-created viral content, are a recent and popular example of this. This thesis examines the participation of ordinary individuals in political culture online through humor creation. It focuses on citizen-made political humor memes as an example of engaged citizen discourse. The memes comprise of photographs of political figures altered either by captions or image editing software, and can be compared to more traditional mediums such as political cartoons, and 'green screens' used in filmmaking. Popular culture is often used as a 'common language' to communicate meanings in these texts. This thesis thus examines the relationship between political and popular culture. It also discusses the value of 'affinity spaces', which actively encourage users to participate in creating and sharing the humorous political texts. Some examples of the political humor memes include: the subversion of Vladimir Putin's power by poking fun at his masculine characteristics through acts similar to fanfiction, celebrating Barack Obama’s love of Star Wars, comparing a candid photograph of John McCain to fictional nonhuman creatures such as zombies using photomanipulation, and the wide variety of immediate responses to Osama bin Laden's death. This thesis argues that much of the idiosyncratic nature of the political humor memes comes from a motivation that lies in non-serious play, though they can potentially offer legitimate political criticism through the myths 'poached' from popular culture.
40
Rajala, Tero Markus. "Lives unremembered : the Holocaust and strategies of its representation : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/756.
Full textAbstract:
The Holocaust is a subject that seems to defy artistic representation by way of its sheer scale of tragedy and subsequent trauma. As I will demonstrate in this paper, it is hard to restore visibility – pictorial links between past and present realities – to crimes that have been deliberately submerged by its perpetrators. I will examine some of the common strategies used in representation of the victims of the Holocaust since the end of the Second World War, in the mediums of film and photography. As my main method of enquiry, I will examine three films from different eras, and of very different approaches in terms of their processing of the proposed original evidence, as examples to illustrate my arguments. In the second chapter Alain Resnais's documentary film Nuit et Brouillard (Night and Fog) is analyzed as a birthplace of the so-called iconography of the Holocaust. Chapter three examines workings of memory through the aesthetic form that was soon to follow; the role and testimony of the survivors is considered through Claude Lanzmann's Shoah. In the fourth chapter a new player is introduced: the second generation witness of postmemory, works of transmitted but unexperienced realities. In this chapter I will closer examine the workings of art in the game of reprocessing the evidence of the Holocaust, and through Dariusz Jablonski's film Fotoamator I aim to critique how the previously discussed approaches serve to further lock the Holocaust in an inaccessible canon. Moreover, the generalization implied – a drive toward universalization of the Holocaust as an idiom or even a metaphor for the dark sides of human history/character – derives from problems of representation; mainly that of anonymity in face of the proposed beauty of the spectacle, of tragedy and suffering in mass-media. A key problem is that any historical document, however we define one, is considered transparent and unmediated, whereas art is clearly something where a degree of mediation is necessarily recognized. In the face of this dichotomy it seems that all the collected "proof" of the Holocaust – witness accounts" photographs" films" material remains – achieves, is to stregthen the prevailing version of history.
41
Stárek, Ondřej. "Politická satira v pořadu Saturday Night Live." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-351224.
Full textAbstract:
This thesis aims to explore the genre of political satire as presented in the US sketch comedy and variety show Saturday Night Live between the years 2008 - 2014 with the emphasis on the period in which two presidential and four congressional elections were held in the USA. The author proposes four main research questions. Question no. 1: How much time did Saturday Night Live devote to political satire? Question no. 2: What politicians were most often satirically portrayed on the show? Question no. 3: What political issues were most often satirically depicted on the show? Question no. 4: How were the politicians satirically portrayed? At the same time, the author tries to determine whether the show could through its political satire influence attitudes or even electoral behavior of its spectators. A quantitative content analysis was used as a primary research method. The work is divided into three chapters. The first chapter deals with the genre of political satire within the US television broadcasting. The second chapter focuses on the show Saturday Night Live. The research method is further specified and subsequently applied in the third chapter. The results of the analysis are placed in the tables whose interpretations provide answers to the research questions. Powered by TCPDF (www.tcpdf.org)
42
Klein, Jesse Noah. "Night out." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5636.
Full textAbstract:
The following report describes the pre-production, production, and post-production stages of the short film NIGHT OUT, a film set in the present day in Montreal, Quebec. The story follows a high school kid throughout one evening out on the town. Over the course of the night he meets an older man, Julian, who takes him to a bar where he meets an older woman, Patricia. NIGHT OUT explores the loneliness in urban landscapes, a young person’s relationship with strangers, and the risks and rewards of opening yourself to the world. The majority of this report consists of a first-person account of the entire process of making this project, from its inception to its completion. Supplemental materials include: character descriptions and synopsis, shot list, lined script, storyboards, and a props and costume list.text
43
Tseng, Wangting, and 曾琬婷. "Code-switching in the Film Night Market Hero." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/13004611870091602496.
Full textAbstract:
碩士靜宜大學
英國語文學系
101
This study aims to examine a local Taiwanese movie, Night Market Hero, in order to examine the functions of code-switching and the sociolinguistic variables leading to the occurrence of code-switching. In the film, four languages, including Mandarin, Southern-Min (also known as Taiwanese), English, and Hakka are interchangeably used. The data is collected from the conversations among the main characters in the film. Two research questions are raised in this study: (1) what functions does code-switching serve in this film? And (2) what social factors lead to code-switching in the selected film? The results showed that in terms of languages, most CS occurs between Mandarin and Southern-Min, followed by CS between English and Southern-Min. Next, CS occurs between English and Mandarin, and then CS between Southern-Min and Hakka. Finally, CS occurs between Mandarin and Hakka. This shows that as Mandarin and Southern-Min are the two majority languages in Taiwan, CS between these two languages are more common than CS between other language pairs. Further, a variety of functions of CS are observed. They are emphasis, lack of equivalent terms in one language, humorous/sarcastic effect, commentary, reiteration, habitual expressions, expressiveness/a touch of local flavor, poetic effect and interjections. Finally, two sociolinguistic variables, topic and interlocutor, are found to lead to CS.
44
LAN, YU-SHU, and 藍宇淑. "The discussion of Tainan night market scenes and food expression - Animated short film "Night Market" as an example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3c9u9m.
Full textAbstract:
碩士國立臺南大學
動畫媒體設計研究所碩士班
106
This study discusses night market scenes and food expression as the theme, analyzing the expression method of night market scenes and food in films and animation movies, then applying the results to personal animation. Films which set night market as background, the context of shots are whole of night market (Long shot), stalls and the crowd (Medium shot), cooking process (Close-up). The appearance of street vendors, crowd, purchasing and eating behaviors in the footage is an indispensable element of night market. The main feature of the night market is various street foods. This study collects food-themed Japanese animation, analyzing visual performance of food. The food expression could be divided into (1) cooking process, (2) food visual, (3) cuisine on the table, (4) tasting reaction. Through the above cinematic language and food animation performance techniques to understand the basic visual point of food. After discussing and analyzing, the results became a inspiration to create 2D animation "Night Market". Organize the creative process and methods, hoping to provide reference for creators of the relevant fields in the future.
45
CHANG, MING-YU MING-YU, and 張明右. "The Production Report of A Documentary Film “Live on”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2fhu74.
Full textAbstract:
碩士國立臺灣藝術大學
電影學系
104
<
46
Lee, Shih-Han, and 李詩涵. "Deconstruct the Urban Night Creative Economic Space:A Case Study of the Live house in Taipei." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/76912229756807836607.
Full textAbstract:
碩士國立臺北大學
都市計劃研究所
101
The nighttime economy and night-life regulation have recently emerged as key sites of theoretical relevance for scholars who are interested in the institutional arrangements of creative city. Recent literature has viewed the nighttime economy as "double-edged sword" for city, that is, creative economic dynamics usually accompanies security issues. This research aims to explore the causality of "double-edged sword" in terms of urban planning. Based on the empirical study of live houses in Taipei, four research questions are addressed. Firstly, what are the particularities of night-time space in the historical-geographical context of Taipei? Secondly, what are the significances of live house for Taipei’s music economy and creative milieu? Thirdly, what are the underlying reasons for the conflicts among the creative community, the residential neighborhood and the government? Finally, what policy implications would be proposed based on the academic findings?
47
MAO, TZU-CHI, and 毛子奇. "Thin Film Interference Filter and Absorption Filter Used for Enhancing Night Vision Acuity." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/eba34b.
Full textAbstract:
碩士逢甲大學
視光科技碩士在職學位學程
106
The purpose of this research is to study people’s vision under night-time conditions, using thin-film filter and absorption filter to improve night vision ability. The proposed method is to use thin-film coating technology to increase optical visibility, through thin film interference filters to make visual images clearly on the target imaging of the retina and to increase the visual sensitivity. The absorption filter is the most widely utilized type of filter, and operated by attenuation of light through absorption of specific wavelengths, so that other wavelengths of light pass through the filter to reduce glare and to enhance contrast sensitivity of seeing a target, thus it can improve the visual acuity. Characteristics of combining two types of filters can enhance the visual acuity at night time. This research carries out the experimental analysis for two kinds of filters, and the combination of the two filters can help to promote higher night vision sensitivity. Using the advantages of both filters could reduce the degree of eye fatigue and provide a good protection for the personal security.
48
CHEN, JIA-PEI, and 陳家珮. "The Study on the Influence of Live Streamer Features and Media Production Characteristics on Facebook Live Streaming Auction Film Attitudes and Purchase Intentions." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qd98bv.
Full textAbstract:
碩士國立勤益科技大學
流通管理系
107
With the advancement of technology, the increasing popularity of Internet applications, which promotes the live streaming technology flourish. The major community website has also added to the live streaming functions to attract consumers by using the emerging business methods of the live streaming auction when consumers browse social networking sites. In 2015, Facebook has been created the live streaming function. During the live streaming, the viewers can instantly chat and interact with the live streamers immediately. Therefore, Facebook’s live streaming platform has become the sales on one of the channel of various industries. The live streaming function starts from the live games streamer, artists and Internet celebrities live sharing. In addition, many operators saw the business opportunities of the live streaming shopping and started their own businesses, they have auction and sell their products through the live streaming. Whenever you open the community website, you can see many people sharing their videos of the live streaming auction and conduct shopping online. This study will explore the five facets of the live streamer features as well as the three facets of the live media production characteristics. Whether it will affect the attitude of consumers watching live streaming films. As a result of their Purchase Intention will be generated. We used a questionnaire survey to collect 352 samples. Through analysis the following results were found by PLS calibration: Among them, the Trustworthiness and Expertise of the live streamer features, and the Interactiviting, Performativing, Liveliness of the live media production characteristics, have a significant impact on consumers' attitude towards Facebook’s live streaming, and enhancing the consumer's Purchase Intention.The study also found that highly attached conformity behavior, and the live environment professionalism will produce partial mediation effects and strengthen the positive impact on attitudes.The discussion about the academic and management meaning and the suggestions for businesses as the references will appear at the end of this study.
49
Huang, Ssu-Ju, and 黃思茹. "Description of the Animation Short Film《Long Night》─Study on Visual Performance and Elements of Thriller Films." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/51365748626520682572.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
99
This article is based on my personal short animation "Long Night" which discusses about Visual Performance and Elements of Thriller Films. The first chapteris aself-examination to my past creation learning process andcreation cognition. How TNNUA teachers improved my creation. The second chapter talks about my short film "Long Night" including creation motive, the significance behind thestoryand visual design. The third chapter is about storyboard, visual design, characters design, development of my short film. The fourth chapter discusses aboutelements of thriller and horror films. And the research attainment reviews the film’s content and procedure. The final chapter shows theanticipation to my future career.
50
Lin, Cheng-Nan, and 林赬男. "Combination of live scenes and CGI techniques—a case study of the short film“The Digital Rocks”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/3mm7vq.
Full textAbstract:
碩士崑山科技大學
媒體藝術研究所
103
In recent years, computer-generated-image（CGI）techniques are commonly used in almost every cinema, such as Hollywood blockbuster, TV commercials, short films, or even commercial videos. When the combination of live scenes and CGI techniques become the mainstream of contemporary media art, we should devote to how to use CGI as a great tool to tell a story in films. 《The Digital Rocks》is a story based on a sculptor and collaboration of traditional stone sculpture and modern technology. Therefore this essay aims to discuss the Combination of live scenes and CGI techniques as a reflection of tradition and technology.