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1
Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s". Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.
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Miami, Silas. "Tero Buro: Feature film script". Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32801.
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The conflict and controversy sparked by the production and public consumption of creative work wherein African queerness is liberally expressed is rarely explored from the perspective of the African queer creative. This paper examines how South African queer creatives interpret and understand the often-tumultuous reception that exhibitions of queerness in film and television receive from largely heterosexual South African audiences. With its focus trained on locating the labor concomitant to queer visibility, labor carried predominantly by members of the queer community, it interrogates the positioning of cinematic presentations of African queerness within South Africa's past and current social and cultural landscape by examining how performative resistance of African queer narratives impact the Black queer creative community in South Africa. Finally, this study critically explores the line of reasoning behind the displacement central to arguments that simultaneously seek to strip African queerness of any legitimate claim to ownership of indigenous African cultures and stories. Jon Trengrove's film, Inxeba (The Wound) (2017), functions as this paper's primary text. Inxeba's conceptualisation, production, reception, and the controversy that succeeded its release will ultimately ground this paper's examination of the consequential impact that its exhibition's spectacle had on the lives, and production outputs, of Black African queer creatives
3
McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16558/1/Matt_McMillan_Thesis.pdf.
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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director.
The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
4
McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.
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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
5
Fowler, Richard. "Towards a Blueprint for a Music Centred Feature Film". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23112.
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This research examines how insights drawn from the domain of film can provide provocation for creativity in the praxis of a musically inclined screenwriter-director. Through a research-based approach, a framework was sought to underpin the writing of a screenplay for a music-centred feature film. An extensive survey of films led to the fashioning of the Integrated Montage Interface - a digital tool for the process of script development. Nova emerged as an original screenplay, in which the exploration of narrative threads called for a more holistic praxis. Narrative directions were interrogated and refined to reflect the creative development within the discrete phases of filmmaking. Scaffolded by the unique perspective of the Integrated Montage Interface, a new multi-modal impetus was given voice within the work, engendering nuanced storytelling. Combinatory possibilities established a blueprint for a fully-fledged feature film production in emotional relief, where momentary tensions are mapped to multi-modal phrasing across audio, dialogue and visual strands. In purposed irony, the Nova-project’s protagonist mirrors the thesis - both being liberated by a fundamental reliance on synaesthesia found so readily in the cinematic experience and so crucially in Nova’s.
6
Paitaki, Gregory. "Cast-off: Original script for a feature film". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12651.
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Patterson, John Andre. "Implementing autonomous crowds in a computer generated feature film". Texas A&M University, 2005. http://hdl.handle.net/1969.1/3107.
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The implementation of autonomous, flocking crowds of background characters in the
feature film ÂRobots is discussed. The techniques for obstacle avoidance and goal
seeking are described. An overview of the implementation of the system as part of
the production pipeline for the film is also provided.
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Christy, June Beverley. "Prospects for a feature film industry in British Columbia". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31230.
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The purpose of this thesis is to assess the potential of establishing a viable indigenous feature film industry in British Columbia. An understanding of the B.C. situation was gained by researching and illustrating the organization of the various parts: production, distribution, and exhibition. This was undertaken by reading various industry publications on the "business" of film making and reading newspaper and trade journal articles. Information about the history of public policy as well as current federal and provincial programs for feature film making was taken from task force reports, Canadian Film Corporation reports, and Telefilm Canada annual reports. Statistics on the industry were gained from Statistics Canada, Telefilm Canada, the Canadian Film and Video Certification Office, and provincial agencies, in particular, B.C. Film annual reports. Personal interviews based on a questionnaire were held with eighteen British Columbia producers who were initiating feature film projects in 1988.
Canadian producers are dependent on access to federal and provincial sources of finanicng for as much as 62 per cent of their financing. The balance is provided by broadcasters, private investors, and deferral agreements, or through co-productions with other countries. Because of Hollywood's control of Canada's exhibition market, only 3-5
per cent of screen time is accorded to Canadian feature films. Because of our small domestic market, Canadian producers must rely on international sales to break even. Moreover, feature filmmaking in Canada, like in most other countries, is characterized by great risk and little chance of profitability. The Canadian government is now supporting a nucleus of Canadian-owned distributors with subsidies to help them establish both a capital base and contacts in the international marketplace. Domestic television production has also been a factor in Canada's feature film development. Writers, directors, producers, and technicians have gained experience by being able to work in the broadcast medium. Successful production companies produce a mixture of both television and feature films. As well, these companies have established relationhips with companies in other countries, thereby providing them with an expanded market and opportunites for co-productions.
B.C.'s feature film sector is comprised of small production companies with limited revenues who produce feature films on a project-by-project basis through the opportunities provided by B.C. Film and Telefilm. Few have enough capital to plan and manage substantial feature film or television production. Increases in B.C. production are
a direct result of success in getting this support. However, Telefilm's funding to the province's filmmakers is unreliable, evidenced by the production of eleven films in 1988 and only one in 1990. A major drawback for B.C. producers is the geographic distance from head offices of existing Canadian broadcasting networks and major feature film distribution companies in Eastern Canada. However, B.C. producers have access to a strong local base of crews, studio facilities, and substantial post production, facilitated by the breadth of American location shooting and commercial production being done in our province.
The need is to establish a new, realistic level of operation for the feature film industry in B.C. and to provide the support to sustain it for 5-7 years in order to it to become viable. Given the above conditions, the three main factors in achieving a viable feature film industry in B.C. will be:
a) the development of several medium-size companies;
b) the provision of adequate funds from federal and provincial sources; and,
c) the promotion of the supply of good quality scripts.Applied Science, Faculty of
Community and Regional Planning (SCARP), School of
Graduate
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Johnston, Jacob H. "The Sherwood Method creating an independent Christian feature film /". Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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Haynes, Thomas. "Modernization and the Wilhelmine feature film : vision, multitude, motion". Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10024667/.
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Germany’s first feature films have been largely overlooked. As is the case with most European cinemas, the films of the early 1910s sit awkwardly between those made by the pioneers of the 1890s and the masterpieces of the 1920s, almost entirely obscured by both. While much has been done to understand the emergence and development of cinema in Wilhelmine Germany, and in particular its social, institutional and economic underpinnings, very little attention has been paid to the films themselves. Whereas the majority of textual analyses have been preoccupied with works that paved the way for Expressionism, as with the Autorenfilme and fantasy films, relatively little has been done about Germany’s popular cinema – those genres that were widely dismissed at the time but which had an enormous commercial appeal: comedy films, crime films and sensational melodramas. By learning from the new film history that close film analysis must be supported by an equally close understanding of broader social and cultural contexts and the history of film style, this thesis thus turns to some of these overlooked works both as effects of Germany’s delayed but rampant modernization around the turn of the twentieth century and also as works that belong to a medium undergoing its own significant transformation. By paying close attention to the stylistic devices and motifs that these films invoke, plus to the contemporary debates about the status of cinema and attempts to come to terms with modern experience more broadly, this thesis thus treats these texts as formal artefacts that are of interest in and of themselves, as records of a crucial stage of a medium’s development, which also enable us to register the impact of emerging discourses and practices at a time of widespread social and cultural upheaval.
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Sedgwick, John. "The British film industry and the market for feature films in Britain 1932-37". Thesis, London Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260284.
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Kitzinger, Leslie. "HOPE FOR A THORN: THE MAKING OF A MICROBUDGET DIGITAL FEATURE FILM". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2175.
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This paper provides a look at the making of a microbudget feature film. It seeks to explain my growth as a filmmaker and an artist, through the challenges, both narrative and practical, that I encountered, as well as provide documentation following the process. Hope for a Thorn: The Making of a Microbudget Digital Feature Film includes elements from each phase of filmmaking, from script and preproduction to the marketing plan. This document shows the tremendous amount of preparation and planning that goes into the making of a microbudget digital feature film.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.
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The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Hughes, Alan Edmund. "The North of England in British fiction feature film, 1927-2000". Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/24013/.
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This thesis is an historical investigation of the North of England in British fiction feature film released between 1927 and 2000. Taking an approach to the research that involved an examination of the entire corpus of texts available, rather than the more orthodox route of studying a smaller number of films deemed representative of the wider body of work, this thesis has quantitatively and qualitatively mapped the presence of the North of England in British film outputs. This methodological approach is, in itself, unique compared to the existing studies of how the different regions or ‘Home Nations’ are depicted in British film, and therefore provides a template that can be used in any future examination of regional or sub-national identities in British film. Making a further original contribution to knowledge, this thesis both provides a definitive inventory of Northern set films and identifies that, throughout the period under scrutiny, the North has been depicted on film as an environment dominated by the working classes. Whilst it is invaluable to scholars of cultural history and film studies to have each of these areas finally definitively mapped, the greater worth of the research - and the most profound of its original contributions to knowledge - lies in its identification that across the 1927 to 2000 period the representations of the North on film have been congruous with and totemic of the conceptual location ascribed to the English working class.
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Houcken, Robin. "The international feature film industry : national advantage and international strategies for European fim companies /". [S.l.] : [s.n.], 1999. http://aleph.unisg.ch/hsgscan/hm00111812.pdf.
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Daneau, Daniel. "THE ATTIC DOOR: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2224.
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THE ATTIC DOOR is the feature-length film co-written and directed by Danny Daneau while pursuing a Master of Fine Arts at the University of Central Florida. Many challenges had to be met to produce a feature-length motion picture utilizing digital technology on an ultra-low budget as part of a graduate education. Beyond gaining a profound understanding of the physical, financial, and emotional strength it takes to complete a feature-length motion picture, Daneau experienced the creative challenges that all filmmakers must meet when applying the principles of filmmaking theory to an actual work of self-expression. The production process for an original narrative film under the guidelines established by the university has pushed him to make a motion picture that is both a highly personal work of film art and evidence of the educational journey he has taken for the past three years.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Stott, Rosemary. "The Western feature film import in the GDR 1971-1989 :". Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435708.
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Harper-Ditmar, Susan. "The representation of history in British feature film 1933-50". Thesis, University of Westminster, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302968.
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Ferrari, Matthew P. "Mysterious Objects of Knowledge: An Interpretation of Three Feature Films by Apichatpong Weerasethakul in Terms of the Ethnographic Paradigm". Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150466591.
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Zhang, Yu. "Developing a Cinematic Language for Virtual Reality Filmmaking". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/399975.
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Many international film festivals, such as those held in Venice, Cannes and Melbourne, have recently established award categories for Cinematic Virtual Reality (CVR) films. However, short videos and animation works still dominate the global CVR film industry and full-length CVR feature films remain largely unsupported. This study aims to contribute to the promotion of the CVR feature film as a viable narrative format. As the focus of this investigation, CVR film represents not only an exciting nexus between computer technology and filmic creativity but also a transformation in the way films are produced and consumed. Filmmakers aspiring to engage with this medium are faced with its significant innovative potential and consequently, with negotiating a new CVR language, production methods and techniques.
The main purpose of this research is to contribute to the development of a cinematic language that can be applied to CVR filmmaking. The present study has made much progress to that end, focusing on three aspects of CVR filmmaking: CVR cinematography, cutting and editing and composition and spatial narrative. The outcomes of this study can be applied in the form of a toolbox to assist would-be CVR film directors in mastering the shooting and associated production techniques specific to CVR film production.
Employing a Practice-Based Research (PBR) methodology, I have documented the progress of this research from conception to completion via a reflective journal. The main components of the PBR include a study of traditional film techniques, from which a series of CVR previsualisation (previs) experiments were conducted utilising key scenes from selected well-known films for CVR simulation. The results of these experiments were in turn used as the foundation for the second component of this research – the production of an original experimental CVR feature-length film that I directed, titled Calling. The final component of this research is a suite of new creative methods garnered from the previs experiments, culminating in a glossary of 23 new CVR-specific terms and production techniques.
As research on CVR film language and techniques is still emerging, traditional filmmakers are especially motivated to better understand the potential of this novel genre and production mode. Unlike conventional filmmaking cameras, CVR cameras have multiple lenses, which demand different shooting and production methods. Additionally, the CVR space that this form of filmmaking captures breaks the flat picture frame of conventional film. Therefore, traditional filmmakers must transcend their reliance on long-standing principles of “flat film” if they are to leverage the new and innovative storytelling potentials of the CVR medium.
One of the major findings of this study is that although traditional film language is able to be partially applied to the production of CVR film, traditional filmmakers need to be strategically mindful of the differences, both large and small, between “flat film” and CVR film. In particular, CVR film directors must be willing to reconceptualise their own roles in the overall filmmaking process as the CVR film is much less director-centered than traditional film and thus more audience-centered. From this reconceptualisation, CVR filmmakers need to shift their narrative-centric mode of thinking to a spatial thinking mode if they are to embrace the full creative possibilities of this emerging filmic medium.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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Murray, Mikey. "Building city : the impact of theory, creativity, and market in feature film development and practice-led film research". Thesis, Bangor University, 2015. https://research.bangor.ac.uk/portal/en/theses/building-city-the-impact-of-theory-creativity-and-market-in-feature-film-development-and-practiceled-film-research(561a4703-4acf-43ce-b6b6-02c4056f7567).html.
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This thesis is practice-led research in the field of commercial feature film development in the UK. It addresses the growing interest in practice as research in film, while proposing how traditional research methodologies can be broadened to allow for a more fluid use of practice as research in film for the future. In doing so, this thesis indicates that practice-led research is a critical tool for allowing a more functional understanding of the film industry generally because as a methodology it has the potential to encourage filmmakers and practitioners to engage with academic and research environments, and can ultimately expose more specific aspects of the filmmaking craft. Contextual analysis of this type does reveal the unfortunate presumption that often exists within film studies that there is a dichotomy between the theory of, and the practice of, making a film. Traditionally page-based film criticism has investigated film by seeking out associative theory and critiquing filmmaker’s work, while the filmmakers themselves often suggest that their artefacts ought to speak for themselves. As the development of making an industry film has rarely been subject to process specific theoretical critique by the filmmakers that created them, film practice has suffered a divorced relevance as a mode of research at doctoral level. The creative artefacts within this study, however, face a number of affects from film theory and this thesis confronts the traditional notion of a divide between page-based critical theory and production practices in film and builds towards an outcome that promotes a core relationship between the two. By presenting practical feature film development artefacts and providing a page-based critical insight, new knowledge can be revealed about how the UK film industry and critical theory both function as stimuli for creativity in film. The methodology here treats the filmmaker (myself) as a critical commodity in understanding the film industry and will show how the practicalities of making a film as a research artefact is influenced by a fusion of three core determinants: Critical Theory, Creative Process, and Market Forces. Structured around these three elements primarily, this study creates a working model for practice-led research, while giving an insight into the processes of feature film development in the UK.
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Englesson, Dan. "Improving the visual quality of computer generated crowds for feature film production". Thesis, Linköpings universitet, Medie- och Informationsteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-91333.
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In this thesis, several different methods for improving the visual quality of a crowd system for feature film production are presented. The implementations were made for the Moving Picture Company for their crowd system software ALICE. The methods implemented and presented in this thesis have made improvements on the basic skinning methods by introducing twisting and scaling of the bones with a method called Stretchable and Twistable Bone Skinning. Also, complex and detailed deformations on crowd characters such as muscle bulging and wrinkles on clothes, are now possible due to the implementation of Pose Space Deformation methods which interpolates stored complex and time-consuming deformations onto a mesh. Several known pose space deformation methods were implemented and compared and resulted in an other method trying to reduce the current pose space deformation method’s limitations and is presented as Three-Joint Pose Space Deformation. In this thesis, a novel method for Dynamic Pose Space Deformation is also presented and a dynamic spring-damper approximation deformation method was also implemented, enabling crowd characters to have dynamic effects, such as jiggling of fat and muscle bouncing, due to joint accelerations.
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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999". Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.
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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.
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Chircop, Dean. "Branded Content and Australian Hybrid Film Financing". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366859.
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This exegesis proposes an alternative strategy for financing feature films in Australia, one centred on working to create a fictional narrative screenplay in conjunction with commercial brand partners. The studio project at the heart of this reflective practice research is the writing and development of King of Speed, a feature film script set in the realm of competitive automobile racing. I argue that the alignment of this milieu and industry with my narrative interests has provided a unique opportunity to partner with key corporations and brands without ceding creative control. I suggest that a major challenge confronted in the design of the project is the aesthetic contextualisation of commercial content. A key aim of the script development is to provide opportunities for sponsorship and the showcasing of ‘products’ that appear to be contextually naturalised and hence not to violate the integrity of the artwork. This research contributes to the field of screen producing and filmmakers who are seeking ways to finance feature films that are outside entrenched and established models. The exegesis investigates the process of script development; the financial advantages and disadvantages that can be gained from associating films with brands; the ethical and aesthetic limits of product placement; the complex issues surrounding artists’ rights; and the commercial challenges to influences on creative integrity.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Allison, Deborah. "Promises in the dark : opening title sequences in American feature films of the sound period". Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247223.
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Cowan, Judith Marjorie. "Creating the British feature film industry : W.G. Barker and G.B. Samuelson, 1909-1916". Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500057.
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Corradini, Ryan Arthur. "A Hybrid System for Glossary Generation of Feature Film Content for Language Learning". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2238.
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This report introduces a suite of command-line tools created to assist content developers with the creation of rich supplementary material to use in conjunction with feature films and other video assets in language teaching. The tools are intended to leverage open-source corpora and software (the OPUS OpenSubs corpus and the Moses statistical machine translation system, respectively), but are written in a modular fashion so that other resources could be leveraged in their place. The completed tool suite facilitates three main tasks, which together constitute this project. First, several scripts created for use in preparing linguistic data for the system are discussed. Next, a set of scripts are described that together leverage the strengths of both terminology management and statistical machine translation to provide candidate translation entries for terms of interest. Finally, a tool chain and methodology are given for enriching the terminological data store based on the output of the machine translation process, thereby enabling greater accuracy and efficiency with each subsequent application.
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Vanaria, Francis Joseph III. "Postmodern mysticism: a study of the feature films of Guillermo del Toro". Thesis, Boston University, 2014. https://hdl.handle.net/2144/21268.
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Thesis (M.F.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.This thesis explores the work of the director Guillermo del Toro. In a career that spans 20 years working in feature films, del Toro has directed the Spanish-language art Cronos (1993) in Mexico, and The Devil’s Backbone (2001) and Pan’s Labyrinth (2006) in Spain. Del Toro has also worked extensively in Hollywood, wherein he directed Mimic (1997), Blade II (2002), Hellboy (2004), Hellboy II: The Golden Army (2008), and, most recently, Pacific Rim (2013). Amongst these, del Toro regularly blends generic elements, and in doing so questions the boundaries dividing genres of: horror, sci-fi, fantasy, anime, melodrama, and the superhero. Making use of auteur theory, this study discusses the entirety of del Toro’s feature films in order to position the director as an auteur. As such, the motifs del Toro repeats in and across these 8 films are of central concern, as well as any biographical information to contextualize del Toro’s personal and aesthetic concerns. In particular, this thesis looks at del Toro’s stylistic and diegetic invocations of certain features of fairytales—the relation between reality and fantasy (Pan’s Labyrinth and Hellboy II), the fairytale trope of the curse (as in Cronos, Mimic, and The Devil’s Backbone), and the hunter archetype (which is emphasized in Blade II, Hellboy, and Pacific Rim). In addition, this study finds that the sacred and the profane constitute a central dialogue woven throughout del Toro’s films. Ultimately, this thesis concludes that del Toro can be considered an auteur in that he appropriates genre, fairytale motifs, and the sacred and the profane in order to explore bodies—human and nonhuman (that is, bodies of monsters, machines, and the divine)— as works of art that challenge the possibility of defining the body in singular terms (that is, as human, male, adult, white, etc.).
2031-01-01
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Skopeteas, Ioannis. "Photographic practice and aesthetics in the film image : the case of the Greek feature films in the mid 1990s". Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434289.
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Ward, Karla. "A depiction of the ghetto in feature film : a cinematic platform for confronting contemporary representations of ghetto occupancy". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8130.
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Includes abstract.Includes bibliographical references (leaves 30-31).
The thesis film project, Mile in My Shoes, is a narrative depiction of a particular South African experience that consists of broader implications. It utilizes the ghetto/township setting to illustrate diverse, counter hegemonic depictions of black and especially black African characters, lifestyles, images, love, gender, and their position/focus in film.
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Strömberg, Daniel. "Film om film : En analys av dokumentärfilmer om fiktionsfilmer". Thesis, Linköping University, Department of Thematic Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2044.
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This thesis is a study of documentaries about fictional feature films. The development of the DVD format has contributed strongly to their massive increase in quantity. The capacity of the format enables film companies to include more material than the feature film itself. As some people regard this type of documentary as self-righteous and presumtious, others think of it as a great educational aid giving the audience a greater understanding of the intentions of the director and others involved, thus adding more levels to the experience of watching movies. By using established theory on documentary I’m trying to find distinctive features of ‘documentary on fiction’.
I uppsatsen studeras dokumentärfilmer som behandlar spelfilmer. Det är en företeelse som växt starkt i och med lanseringen av det nya videoformatet DVD. Formatets kapacitet har möjliggjort att man kunnat inkludera mer material än bara själva filmen. Idag är det nästan självklart att man på något sätt dokumenterar arbetet med en film, men man gör det på många olika sätt och med olika syften. Det finns många åsikter om denna typ av dokumentär. Vissa röster hävdar att de endast kan vara självförhärligande och partiska, medan andra anser att de ger fiktionsfilmer ett större djup och tittaren en ökad respekt och förståelse för verket.
Jag vill med min undersökning hitta kännetecken för dokumentärfilmer om fiktionsfilmer och detta gör jag med hjälp av etablerad dokumentärfilmsteori. Genom analysen diskuterar jag bland annat filmernas funktion, problematik och relation till fiktionsfilmen.
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Smith-Eivemark, Jane Elizabeth Ann. "Pamela Bay, a screenplay, and, Developing a methodology for theological connoisseurship of feature film". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0018/NQ48901.pdf.
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Ludwin, Linda Grace. "The one-shot deal : temporary organizations, UK feature film units, and learning organization theory". Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402257.
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Piecowye, James David Dean. "The contradictions of culture and commerce in Telefilm Canada's feature film fund 1981-1998". [Montréal] : Université de Montréal, 2003. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ82750.
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Thèse (Ph. D.)--Université de Montréal, 2003."NQ-82750." "Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de doctorat en sciences de la communication." Version électronique également disponible sur Internet.
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McKenzie, Susan M. y n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998". Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.
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This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.
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McKenzie, Susan M. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366616.
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This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
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Davis, Isabelle. "Clean Sweep". Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/971.
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Best friends, Harry and Dave, both come to face their own versions of mid-life crises. Harry is a former hockey player stuck in his glory days, and Dave is a recently divorced, try-hard dad without any glory days. Harry realizes he’s not in the “prime” he thinks he is but still wants another shot at the Olympics, so he decides to trade hockey in for the most exciting and physical sport in the world – Curling. He drags along Dave to form a team of misfits, including the local shuffleboard champ and hairdresser, Ramona, and a high-school janitor, Gail. Under the training of Harry’s former hockey coach, the team combines their surprising strengths and overcome their many weaknesses in order to pursue the Winter Olympics.
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Morris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script". Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16632/1/Anthony_Morris_Thesis.pdf.
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This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn.
The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts.
An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.
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Morris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script". Queensland University of Technology, 2008. http://eprints.qut.edu.au/16632/.
Texto completoResumen
This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn.
The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts.
An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.
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Schutte, Barend-Christiaan. "Images of a new German identity : the portrayal of the unification process in documentary and feature films since 1990". Thesis, Southampton Solent University, 2005. http://ssudl.solent.ac.uk/593/.
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German unification is frequently seen as an event and a date October 3, 1990 - on which a divided people could finally live as one, restored to a natural state of togetherness. Within Germany, however, the experience since 1990 has been one of realisation of deep inner division, and recognition that unification is in fact a long term process, and perhaps even an uncertain goal in Europe, where, everywhere else, new regional consciousnesses are questioning old national identities. Since the future role of Germany in Europe is a major and controversial issue in economic, political and cultural circles, the critical construction of realistic and authentic portrayals of post-unification Germany is of considerable importance. The concept, size and location of a 'German nation' have been contested and fought over from outside and within since its 19th century forging under the leadership of Bismarck, but if one proceeds on today's dominant assumption that between 1949 and 1989 the German people existed as one nation, though they were separated by one of the most tightly guarded borders in world history - a border that separated more than just two countries, but rather served as the confrontational line between two superpowers with opposing ideological, economic and political systems - one can come to the logical conclusion that German unification in 1990 was merely an event which enabled 'the German Nation' to live in the same, unified country once again. However, if one recognizes the fact that 40 years of separation superimposed on more complex historical and contemporary mappings inevitably led to the development of two distinct collective identities, it becomes clear that German unification was - and still is - in fact an on going process of attempting to merge the peoples of two states into one, or one into the other. This is a process that will reach deep into the 21st century, involving the development of a new German national identy within the European Union in a rapidly changing world. This thesis does not try to speculate on or define a 'general' or 'essentialist' sense of what the new German national identity might be. It rather analyses texts of a selection of Germany's image makers since 1990, and examines critically a range of constructions of the new identity from documentaries and docudramas to feature films. The project does not ask to be judged as a contribution to film studies in the narrow sense of that term, seeing itself instead as an interdisciplinary undertaking which derives its insights from a fruitful mix of approaches used in Critical Discourse, Analysis, History, Cultural Studies and Film Studies. Just as it may be said that the German Democratic Republic to some extent talked itself out of existence through its people's acceptance of Western discourse, and images of a Western consumer paradise, so it is now worth analysing how the new Germany is, in complex and sometimes contradictory and sceptical ways, attempting to talk itself into existence through discourse and imagery. The thesis examines whether and how, through the medium of film, opinion formers and creative minds, with their various agendas are seeking to influence public perceptions of the post-1990 confrontation between idealised projections of German identity and recalcitrant reality.
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Gasher, Mike. "The Grey Fox meets Jumanji : the emergence of the feature-film industry in British Columbia". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0005/NQ39017.pdf.
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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.
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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Коломієць, Д., Наталія Володимирівна Руденко, Наталия Владимировна Руденко y Nataliia Volodymyrivna Rudenko. "Підходи до перекладу заголовків англійських фільмів". Thesis, Сумський державний університет, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46631.
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Назви кінофільмів відносяться до розряду власних назв і часто співвідносяться з назвами творів художньої літератури. Переклад заголовку художнього фільму є його ключовою позицією: саме назва повинна викликати у глядачів бажання переглянути сам фільм, створити перші враження, а це вже має комерційне значення. Тому всі підходи до перекладу назви художніх фільмів підкорюються саме комерційній стратегії – привернення уваги людей до того чи іншого фільму.
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Gabor, Elena. "The stereotype caravan: Assessment of stereotypes and ideology levels used to portray Gypsies in two European feature films". Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/34160.
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The dominant ideology in Eastern Europe has kept and still keeps Roma people at the lowest level of society through a long list of negative stereotypes and active discrimination. Up to the end of the twentieth century, cinematography tended to portray Gypsies as an exotic element in romantic settings, avoiding social and political issues like poverty, discrimination and marginalization. The fall of communism marked a change, as more films dared to speak against the dominant ideology. This thesis examines the socio-cultural stereotypes used to portray the Gypsies and the levels of ideology present in two movies: Gadjo Dilo (Tony Gatlif, 1997, France) and Time of the Gypsies (Emir Kusturica, 1989, Yugoslavia).Master of Arts
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Makan, Amit J. "Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20093.
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Globally mental health is widely regarded by scholars as a neglected public health issue. Documentary film is recognised as an appropriate medium for addressing social and political issues, and mental health is both of these. Country comparative documentary films on mental health, set in low and middle-income countries, appear to be lacking. Prorgramme for Improving Mental health carE (PRIME) works in five low and middle income countries, two of which were selected for the film (Nepal and South Africa). This was motivated by across continent comparisons, financial and logistical viability within a one year timeframe, global interest and appeal and the support of PRIME colleagues and local country partners. Based on qualitative research including a literature review and 40 indepth interviews with stakeholders, this essay reports on, and critically assesses the ethical and production processes involved in making the documentary film. The essay includes several elements. Firstly, it considers the power relationship between the filmmaker and the subject. Whilst Nichols, Aufderheide and colleagues present useful ethical considerations for making a documentary film, both from the subject and audience perspectives, more care is required when making a film with persons living with mental illness. This is particularly because the subject may not have the mental capacity to consent, and if they do, participating in the media production process could potentially exacerbate their condition. Having weighed these risks up with the benefits of representing persons living with mental illness, and giving them a voice, the decision was made to give persons living with mental illness the opportunity to represent themselves. Secondly, and having made the decision to allow for representation, the various documentary modes (expository, performative, poetic, observational, reflexive, participatory) conceived by Nichols were explored, in an attempt to identify a conceptual framework for the film. The performative mode was most appropriate for telling deeply personal stories, and providing patients with an opportunity to be represented. However, this mode was ideally complemented with elements of the expository (verbal commentary of experts), poetic (use of rhythm, emotion and music), observational (footage of patients in their daily routines, and of their environment for cutaways) and participatory (through direct engagement between filmmaker and subject) modes. 2 Having identified a conceptual framework, the third element involved the institutional research ethics processes. These processes contributed to a more ethically sensitive film production. This included a check for mental health service users to ensure that they do have the capacity to consent. The process of developing a research protocol highlighted the synergistic benefits of integrating a qualitative research method in the form of in-depth interviews into the film production process (and vice versa), whilst remaining cognisant of not compromising research findings for more visually appealing footage. Following a research process for the production also contributed to a more robust discussion guide after translating communication objectives into research objectives. Finally, the process of implementing the film's production, and post-production, was assessed. A host of steps were identified, which included securing the funding for the filmmaking, establishing stakeholders support, briefing the crew on the vision and purpose of the documentary and having access to equipment and translators. During the post production process, a systematic approach to editing using a script outline was helpful in identifying main themes, and to ensure the narrative flow. Despite its typical use in fictional filmmaking, the three-act structure was fitting as a framework for the narrative. Timecoding during translation and transcription was found to be particularly expedient for inserting English sub-titles. The country comparative approach revealed similaries and differences, and developing and implementing stakeholder specific distribution strategies (including conferences, symposia, film festivals and broadcasters) was identified as critical to the public dissemination and reach of the film. Documentary film, and the performative mode complemented by other modes, has shown to be an advantageous means of representing persons living with mental illness, and their families. However, the paper calls for more evaluation research regarding the impact of the film on the main patient characters, amongst other stakeholders such as health workers and policy makers. The paper also proposes the integration of media production into a research process for researchers interested in using this medium to visually communicate their research findings, emphasising the value of systematically using the research findings to develop a narrative script in the context of a typical three act structure. A distribution strategy was also identified as necessary to maximise the research and stakeholder impact of the film.
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Devlin, William Connor. "Exquisite Corpse". Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/918.
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Kamwendo, Mosco. "The role of the black screenwriter-director in the development of feature film-making in Zimbabwe". Thesis, University of the West of England, Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620103.
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This practice-led thesis, with its accompanying artefact, a documentary film, explore the issues that confront the Black African film-maker. Its specific focus is on feature film production in Zimbabwe and the importance of story choice and screenwriting techniques to a film's success as an art form and as a commercial practice. The mode of analysis is empirical but this enquiry is informed by and engages with the broader historical, political and conceptual issues that shape the practice of all African filmmakers: the liberation from colonial rule; Third World cinema; the global dominance of Hollywood cinema; the nature of ' African cinema'; post-colonialism; the role of regional and national cinemas; and diasporic and transnational forms of film-making. The Introduction, chapter 1, describes the approach and methodology of the thesis and chapter two reviews the most significant literature on the central issues and the major shift - in film practice and in theoretical writing - from a homogeneous conception of an overtly political pan-African cinema to one that is heterogeneous and hybrid. Chapter three is a detailed contextual and aesthetic analysis of the development of Zimbabwean national cinema from its roots in British colonial rule to the present day, drawing on a variety of primary as well as secondary sources. Chapters four. five and six are case studies of three feature films - Neria (1 993), Flame (1996) and Matters of the Spirit (1998) - based on original interviews with their respective film-makers who were central to the development of Zimbabwean cinema. The chapters discuss their production and reception histories and analyse the nature of their story choice and narrative development. Chapter seven is an analytical auto-ethnographical account of the author's own history as a film-maker culminating in a detailed production history of the artefact, a documentary film, Camarada Presidente, about the Republic of Mozambique's first president. Samora Machel. The Conclusion summarises the issues facing the Black African film-maker and the particular instance of Zimbabwe and the continued importance of story choice and screenwriting techniques. It considers the author's future plans as a diasporic filmmaker who remains committed to full-length feature film production that combines indigenous subject matter with a well-honed screenplay to create audience appeal.
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Branca, Danilo. "Generazione di attributi facciali mediante Feature-wise Linear Modulation". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20361/.
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L’aspetto dell’apprendimento automatico su cui si sta lavorando di più, negli ultimi anni, è quello della generazione di dati, come ad esempio suoni, testi e immagini. Un aspetto interessante nel campo della generazione è la possibilità di condizionare il modo in cui la rete neurale genera nuovi dati. Recentemente è stata introdotta la tecnica del Feature-wise Linear Modulation, abbreviato “FiLM”, usata per influenzare in modo adattivo l’output di una rete neurale basandosi su un input arbitrario, applicando una trasformazione affine sulle features intermedie della rete. Lo scopo dell’elaborato è mostrare l’integrazione di livelli FiLM all'interno di un modello Variational Autoencoder (VAE). Il modello così ottenuto verrà analizzato per le sue capacità di ricostruzione dell’input e di generazione di nuovi volti umani, sulla base di specifici attributi. Il modello verrà allenato sui volti presenti nel dataset CelebA e ne verrà valutata la capacità di ricostruzione e generazione attraverso la metrica della Fréchet Inception Distance (FID). Inoltre verrà condotto un piccolo esperimento per valutare la capacità del FID di discriminare alcuni attributi.
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Magnoli, Mirella Martinelli. "A representação da subjetividade no longa-metragem Joana". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-14122011-220637/.
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O argumento cinematográfico para um filme de longa-metragem ficcional é tema central da presente dissertação. Para tal, foi realizada uma pesquisa baseada em dois eixos. O primeiro, o tema do filme (a relação entre os universos feminino e masculino na faixa de meia-idade no Brasil urbano contemporâneo); o segundo, a abordagem cinematográfica (representações da subjetividade no cinema). No século XX, enormes transformações colocaram a mulher em um novo lugar no tecido social. O homem contemporâneo viu seu lugar histórico ser abalado por essas transformações e ainda não se reposicionou. O descompasso entre feminino e masculino colocou num terreno de imensa dificuldade o relacionamento de casal, hoje pouco normatizado por regras sociais. Este tema é tratado em Joana do ponto de vista subjetivo da personagem principal. Na linguagem cinematográfica, a subjetividade, concebida como um nível específico da narração, compartilha com o espectador os olhos e ouvidos do personagem, e/ou o mergulho em sua mente. Algo para além do formal é necessário para que um filme expresse alto grau de subjetividade do personagem. Esta pesquisa examina alguns longa-metragens contemporâneos, localizando como é representada a subjetividade: o ponto de vista ótico, o comportamento do personagem, a expressão do mundo interno, a linguagem. É realizada uma incursão na literatura que compara o monólogo interior à voz dos pensamentos dos personagens no cinema e discrimina outras atividades mentais que no cinema podem ter outras representações além da palavra. As necessidades específicas de expressão dessa história, focalizada pela personagem principal, provoca a discussão sobre a forma da escrita do argumento e roteiro cinematográfico. São examinados textos de Sergei Eisenstein que tratam de estratégias para escrever roteiros, em que a emoção é privilegiada. Busca-se um formato específico para o argumento cinematográfico desta história. Circunscreve-se um campo de representações da subjetividade para o argumento em questão. Apresenta-se o argumento em seu sétimo tratamento.Treatment for a fictional long-feature film is the central theme of the present dissertation. Research was conducted based on two axes: the first on film theme (the relation between middle-aged males and females living in urban areas of Brazil nowadays); the second on film language (representations of subjectivity in film). The 20th Century saw huge changes with women taking a new place in social life. As a result, contemporary men saw their historic place unsettled and have not yet repositioned themselves. The mismatch between the new male and female social positions brought great difficulties to relationships, which nowadays are regulated by very few social standards. This theme comes up in Joana through the main characters subjective point of view. In film language, subjectivity, conceived as a specific level of narration shares with the viewer the characters eyes and ears, and/or allows the viewer to get right inside the characters mind. Something beyond the merely formal is required for a film to express high levels of character subjectivity. This research examines some contemporary fiction films, analyzing how subjectivity is represented: the optical point-of-view, characters behavior, expressions of characters inner world, characters speech. A literature review compares inner monologue to how characters thoughts are depicted in film. It also discriminates between other mental activities that can be better expressed in film by different representations other than words. The specific expression needs of this story, based on the focal character, bring on the discussion of script and film treatment writing formats. Sergei Eisensteins writings dealing with screenwriting strategies to privilege emotion are examined. A specific format for the film treatment of this story is searched. A range of representation of subjectivity for this film treatment is defined. The seventh draft of the film treatment is presented.
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Norris, James C. III. "Of Fire". Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/786.
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The teenage daughter of a summer camp slasher, trained to kill sexually active adolescents, questions her father’s work when the camp she’s assigned to terrorize hands out bibles instead of condoms. That’s right, it’s a Christian camp.