Tesis sobre el tema "Historical films"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Historical films".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
Ludvigsson, David. "The historian-filmmaker's dilemma : historical documentaries in Sweden in the era of Häger and Villius /". Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.
Texto completoLudvigsson, David. "The historian-filmmaker's dilemna : historical documentaries in Sweden in the era of Häger and Villius /". Uppsala : Uppsala universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb399193638.
Texto completoPaleker, Gairoonisa. "Creating a 'black film industry' : state intervention and films for African audiences in South Africa, 1956-1990". Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8259.
Texto completoIncludes bibliographical references (leaves 217-239).
This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.
Bisson, Vincent J. 1984. "Historical Film Reception: An Ethnographic Focus beyond Entertainment". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.
Texto completoDrawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen
Sutandio, Anton. "Historical Trauma and the Discourse of Indonesian-ness in Contemporary Indonesian Horror Films". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1395861044.
Texto completoMitchell, Louisa Jo. "Disrupting heritage cinema : the historical films of South Korea". Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22590/.
Texto completoLindberg, Victor. "Film som läromedel : En undersökning om elevers attityder till film i historieunder-visningen". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67352.
Texto completoBaker, William Andrew. "Melancholy and the Photo-Historical Approach in the Films of Wim Wenders". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu161913209076124.
Texto completoRiley, Eustacia. "From Matieland to motherland : landscape, identity and place in feature films set in the Cape Province, 1947-1989". Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11641.
Texto completoIncludes bibliographical references.
This thesis analyses the representation of landscape, place and identity in films set in the Cape between 1947 and 1989. These films are products of a "white", largely state-subsidised film industry, although they include a small number of independent, "alternative" films. A critical reading of these cinematic "apartheid landscapes" provides evidence of the historical context, discourses and values informing their production, as well as the construction and transformation of place and identity in apartheid South Africa.
Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film". Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
Texto completoQuinn, Paul. "B films as a record of British working-class preoccupations in the 1950's : the historical importance of a genre that has disappeared /". Lewiston : The Edwin Mellen Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780773447882.
Texto completoHolder, Elizabeth Suzanne. "No Way Out: A Historical Documentary". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.
Texto completoFerrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999". Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.
Texto completoCerecina, Ivan. "Historical Assemblages: Montage in the Films of Nicole Vedrès, Alain Resnais and Chris Marker, 1947-1957". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20931.
Texto completoMcKeown, Luke Daniel. "(Re)presenting the Past: Historiographical and Theoretical Implications of the Historical Docudrama". The University of Waikato, 2008. http://hdl.handle.net/10289/2230.
Texto completoRybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema". View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.
Texto completoDux, Sally L. "Richard Attenborough and the British cinema: an historical analysis of the British films directed by Richard Attenborough". Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495992.
Texto completoMelchers, Alma Louise Sophia. "Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14340.
Texto completoInsell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
Texto completoArts, Faculty of
Theatre and Film, Department of
Graduate
Finnane, Gabrielle. "Second nature : artifice and history in film". Thesis, View thesis View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/28326.
Texto completoFinnane, Gabrielle. "Second nature : artifice and history in film /". View thesis View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.115616/index.html.
Texto completoHwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
Texto completoHubber, Duncan. "Diegetic wounds : the representation of individual and collective trauma in found footage horror films". Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/179533.
Texto completoDoctor of Philosophy
O'Donnell, David O'Donnell y n/a. "Re-staging history : historiographic drama from New Zealand and Australia". University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
Texto completoJooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
Texto completoENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
Quinn, James Mark Vaughan. "The British historical film, 1930-1990". Thesis, Sheffield Hallam University, 2000. http://shura.shu.ac.uk/3188/.
Texto completoBöhm, Michal. "Historické kořeny minimalistického filmu". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-262707.
Texto completoLudvigsson, David. "The Historian-Filmmaker's Dilemma : Historical Documentaries in Sweden in the Era of Häger and Villius". Doctoral thesis, Uppsala universitet, Historiska institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3865.
Texto completoPoláček, Vít. "Historický film a historiografie". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-202804.
Texto completoSymmons, Tom. "The historical film in the era of New Hollywood, 1967-1980". Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8630.
Texto completoKalandrová, Pavlína. "Historický film v současné evropské kine matografii z producentského hlediska". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-155930.
Texto completoAlabarda, Yusuf y Rafal Lisowiec. "The private military firms: historical evolution and industry analysis". Monterey California. Naval Postgraduate School, 2007. http://hdl.handle.net/10945/10231.
Texto completoSoldiers for hire are not a new phenomenon of the twenty-first century. They are as old as war itself. However, in the present day these modern day soldiers for hire are part of well-organized and competently run Private Military Companies (PMC). The private military industry may be one of the most important, but little understood developments in security studies to have taken place over the last decade. This new industry, where firms not only supply the goods of warfare, but also fulfill many of the professional functions, is not only significant to the defense community, but has wider ramifications for global policies and warfare. This study attempts to clarify and analyze the historical evolution of the private military industry, comparing different private military firms and their future impacts on military operations.
Schroer, Kerstin. "Film matters : historical and material considerations of colour, movement and sound in film". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q14q8/film-matters-historical-and-material-considerations-of-colour-movement-and-sound-in-film.
Texto completoCagle, Paul Christopher. "Historical foundations of Hollywood's social problem film, 1945-1967 /". View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174579.
Texto completoLewis, Gavin Peter. "Masculinity and difference in popular film : an historical approach". Thesis, Manchester Metropolitan University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401338.
Texto completoErsson, Elin. "Janus ala Cuba : Filmiska gestaltningar av den kubanska revolutionen". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21119.
Texto completoThis paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.
Borglin, John. "Django, historien om en hjälte : En diskursanalys av postkoloniala och genusteoretiska maktförhållanden i Quentin Tarantinos film Django Unchained". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70963.
Texto completoElliott, Eric Scott. "Historical Accuracy and the IRA Over 70 Years of Cinema". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/23.
Texto completoKierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.
Texto completoTaormina, Mary Frances. "A Social Historical Exploration of the Popularity of "The Rockford Files"". W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625491.
Texto completoButler, Christopher. "Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity". Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4648.
Texto completoQueiroz, Anne Lee Fares de. "Cabra marcado para morrer : da historia do cabra a historia do filme". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284731.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-06T21:52:24Z (GMT). No. of bitstreams: 1 Queiroz_AnneLeeFaresde_M.pdf: 413004 bytes, checksum: 035c8b8002186419c36482c8c981cfb9 (MD5) Previous issue date: 2005
Resumo: 20 anos após o lançamento, o filme Cabra Marcado Para Morrer, de Eduardo Coutinho levantou e continua levantando uma série de questões ligadas à cinematografia brasileira contemporânea, em termos de linguagem, história do cinema, história do país, e ainda à própria obra do cineasta que é hoje um dos mais representativos do Brasil. Por ter atuado ao longo dos mais de 30 anos (de 1964 até os dias atuais) com uma obra ficcional e documentária de valor reconhecido, autores continuam se debruçando sobre seus filmes, em atividades de análise e pesquisa histórica. Mesmo que 20 anos tenham se passado desde o lançamento do filme Cabra Marcado Para Morrer, este continua um marco qualitativo da cinematografia brasileira (vide as últimas enquetes de ¿melhores filmes¿) e uma referência em termos de inovação estilística no documentário.Quando Eduardo Coutinho decide retomar, em 1981, o projeto do filme que contava a vida e a morte do líder camponês João Pedro Teixeira, e que fora interrompido pelo golpe militar de 1964, suas intenções, segundo ele próprio, são de apurar a história da luta camponesa, a experiência da filmagem interrompida em 1964, a história real da vida de João Pedro e, claro, a trajetória de cada um dos participantes até aquele momento presente. Como documentário, Cabra Marcado Para Morrer é um relato de como a vida de todas as pessoas envolvidas e, sua confecção foi profundamente marcada pelo momento histórico do país. O Cabra de 84 representa um emaranhado de relações e de indicadores do modo como a História age no filme (do momento de sua concepção pelo CPC até o de sua retomada pelo cineasta apenas) e na esfera privada. Em contrapartida, tem-se ainda a atuação do filme sobre a História (como forma de reelaboração e de revisão do fatos, e até mesmo da construção de discurso) e sobre a vida particular dos camponeses retratados por Coutinho. A grande transformação de Cabra Marcado Para Morrer em relação ao docudrama que deu-lhe origem está justamente no fato do cineasta ter incorporado ao filme terminado todos os percalços do seu início, as transformações na história do país e, principalmente, a nova ética prescrita ao documentário, a partir da ética presente no cinema verdade e da própria experiência de Coutinho, adquirida em seus anos de trabalho na televisão, no programa Globo Repórter
Abstract
Mestrado
Mestre em Multimeios
Wu, I.-Fen. "Taiwanese new wave cinema : historical representation and cultural landscape". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369363.
Texto completoChaikin, Eric Justin. "An Assesment of Historic and Contemporary Models of Native Representation from Ethno-Entertainment Films to Experiential Education Films". Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/chaikin/ChaikinE0806.pdf.
Texto completoMassee, Sara Marie. "The American Historical Imaginary| Memory, Wealth, and Privilege in American Mass Culture". Thesis, George Mason University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10823611.
Texto completoThis dissertation seeks to make sense of historicist media in America and the ideological work that they do. It examines a variety of discourses that inflect the texts examined. It focuses on representations of the Anglo-American past since this history, more than any other, is selling to American media consumers and has been for the last thirty years. Consequently, media about Anglo-American history provides vital clues as to what motivates the dominant culture’s invocation of the past.
In order to gain the broadest perspective possible on how historicist media function in America, the texts this dissertation examines come from a variety of media, including television, film, a Renaissance festival, and an experiential history museum. For a similar reason, this dissertation explores three distinct historical locales that have been especially marketable in the United States: the English country house of the nineteenth and early twentieth centuries, Renaissance England, and the American Revolution.
This dissertation argues that the media studied is structured by a contradictory desire for the sense of stability promised by notions of pastness and the sense of freedom, flexibility, and novelty promised by notions of modernity and mass production. As a result of these conflicting desires, historicist media in America can best be characterized as contemporary versions of what Elizabeth Outka described as the nineteenth-century aesthetic of the “commodified authentic.” Like the “commodified authentic,” contemporary historicist media offer to help consumers negotiate anxieties caused by rapid social, technological, and economic change by holding history and modernity in productive tension with one another. Whereas the anxieties addressed in the nineteenth century stemmed largely from the Industrial Revolution though, the anxieties negotiated in contemporary media about the past have to do with digitization, neoliberalization, and the global economic crisis of 2007–2008. However, nineteenth century and current examples of the “commodified authentic” are similar in that by turning to history as a source of stability, they tend to reinforce conservative values, even when they incorporate various forms of liberal social critique. As a result, this dissertation pays special attention to the discourses of class-, gender-, and racial privilege that inflect the media texts examined, particularly when considering what kind of communal American identity (a la Benedict Anderson) my sample texts imagine or imply.
Deldén, Maria. "Historien som fiktion : gymnasieelevers erfarande av spelfilm i historieundervisningen". Licentiate thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27218.
Texto completoBales, Brittany. "Viewing History Through a Lens: The Influence of Film on Historical Consciousness". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3688.
Texto completoDuncan, Rosemary. "Projecting Ireland : the historical consciousness of Irish film in the 1990's". Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17615.
Texto completoIn the following dissertation, I have undertaken to explore the very wide-ranging yet largely unexplored territory of Irish cinema. I have confined my study to the 1990s (other than a brief overview of the Irish film industry in my Introduction) in an attempt to express the revolutionary global success that all aspects of Irish culture have experienced in this decade. The central point, which I reiterate throughout the dissertation, is that, while Irish filmmakers are increasingly concerned with defining "Irishness" for themselves and the world, they inevitably encounter much confusion and ambivalence, and are often criticised for it. For this reason, I have uncovered many ambiguities in the films I have watched, which defy strict categorisation, other than in terms of their settings, which I describe in terms of "war-torn Belfast", modern Dublin and "the rural idyll". Nonetheless, I have divided the essay into three main sections, other than the Introduction and Conclusion, which themselves contain subsections, and which encompass the major themes which recur in Irish films. Section Two is a broad study of those films which deal with the political violence, known as the Troubles, that defines Northern Ireland. This includes a stereotyped American portrayals as well as a more recent IRA bias, beginning with Neil Jordan's attempt to put a new version of history on film in Michael Collins. The conclusion I come to is that filmmakers are ultimately trying to provide a balanced view of the situation and one that condemns violence. Section Three deals with the intertwined themes of women, family, sexuality and the Catholic Church. The traditional conservatism in Ireland is outlined before I show how recent films reflect the changes in moral attitudes and the new freedoms of sexuality that the younger generation is experiencing. Lastly I look at the special situation of women in the North, where they and their families are the long-suffering victims of the violence. Section Four continues the theme of the changes which are sweeping over "Modern Ireland", largely due to its opening-up to outside influences, particularly those of America. The dichotomies of this newly-modernised society are still evident, as I discuss in the section on the historical importance of land, which is expressed not only in the "rural idyll" films, but in those which deal with the move to the urban lure and squalor of Dublin. Finally I look at how the traditional and mythical still exist in modern Ireland, and how the combination of these aspects of the past and present is shown to suggest a positive way into the future.
Umphrey, Olivia. "From screen to page : Japanese film as a historical document, 1931-1959 /". [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.
Texto completoVan, Vuuren Lauren. "The Great Dance : myth, history and identity in documentary film representation of the Bushmen, 1925-2000". Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/22171.
Texto completo