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Thèses sur le sujet « Central Americans in motion pictures »

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Auteur : Grafiati
Publié le 25 juillet 2024

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1

Mann, Erika Noelle. « Cinema's green is gold the commodification of Irishness in film / ». CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05082008-102020/.

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2

Willis, Corin Charles. « The signifier returns to haunt the referent : blackface and the stereotyping of African-Americans in Hollywood early sound film ». Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/55891/.

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This thesis investigates the persistence of blackface in Hollywood's early sound era 1927-1953. It establishes the extensive and complex nature of this persistence against previous historical accounts of its decline after the introduction of sound. Specifically this thesis considers the overlooked phenomenon of co-presence where blackface was juxtaposed with the increased visibility of African-Americans in Hollywood film. It argues that the primary historical significance of the persistence of blackface lies in its involvement in, and exposure of, the formal stereotyping of African Americans in film. The thesis is founded on research which identified 124 blackface films and on viewings of 75 of these films. Primarily the argument is advanced on the basis of close textual analysis. In addition to its theoretical engagement with key positions on blackface and related areas the thesis also makes use of secondary sources in order to establish the historical context behind its persistence in film. Principle areas discussed include the formal practices used to racially mark African Americans in film, co-presence in the films of Al Jolson and Eddie Cantor, and blackface and the racial containment of African-American vernacular dance and music. This thesis contributes to an understanding of the place of blackface in Hollywood history by setting down what is, to the best of its author's knowledge, the most extensive account to date of its persistence in the early sound era. In doing so it brings new material to the debates on the 'nature' of blackface and argues that current attempts to revise understandings of its racial bias may be misguided. In conclusion this thesis finds that the case study of co-presence indicates that one explanation for the longevity of Hollywood's African-American stereotypes lies in the sheer density of their textual construction.
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3

Huang, Ying. « Multiple interplays : Americans' perceptions of two Chinese Wuxia movies / ». Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203584091&sid=4&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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4

Gunckel, Colin. « "A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Albertson, Mark C. « Cultivating Chicana/o images negotiating the cinematic mainstream for cultural survival / ». To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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6

Urquijo-Ruiz, Rita E. « Las figuras de la peladita/el peladito y la pachuca/el pachuco en la producción cultural chicana y mexicana de 1920 a 1990 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3138840.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).
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7

Khor, Denise. « Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).
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8

Lamberti, Justin V. Winn J. Emmett. « Fagidaboudit the American dream and Italian-American gangster movies / ». Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/LAMBERTI_JUSTIN_26.pdf.

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9

Willmets, Simon. « Falling out with history : Hollywood and the Central Intelligence Agency, 1945 - 1975 ». Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/47074/.

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This thesis examines the representation of the Central Intelligence Agency and its predecessor the Office of Strategic Services in Hollywood cinema from 1945-1975. It argues that the development of these cinematic representations over time has articulated a growing scepticism towards "official" narratives of the past that regard the state as the arbiter of historical authenticity. This scepticism towards state-sourced history is a consequence of increasing US government secrecy. In other words, secrecy fundamentally problematizes state-sourced approaches to historical representation, which rely on the state as an authoritative, trustworthy and relatively transparent producer of the documentary record. The epistemological problem of representing secret institutions is referred to here as the "paradox of secrecy" for historical representation. It is argued that Hollywood’s shift away from state-sourced representations of the CIA is a consequence of this paradox. This thesis is influenced by Hayden White's notion that a given form of historical representation is inherently ideological and even specifically political in its ramifications. In this sense, it is argued that the political content of the films examined here are very much a product of their approach to historical representation itself. This thesis identifies four dominant forms of the American spy film during this period. The first, which was dominant from roughly 1945 up until 1959, was the "semi-documentary". This form of spy thriller celebrated the centrality of the state as the arbiter of historical authenticity and relied upon extensive liaison between filmmakers and government. In chapter 1-3, this thesis traces the rise and fall of the semi-documentary and its ultimately frustrated attempts to represent the CIA. Chapter 4 examines the second dominant form of the spy thriller: the romantic fable. This form, epitomized by James Bond, represents an ironic "camp" reaction to state-sourced approaches to historical representation. Chapter 5 provides a detailed analysis of Alfred Hitchcock’s trilogy of Cold War spy films. It argues that Hitchcock moved away from the camp fable towards the third dominant form: realism. This form, epitomized by the novels of John Le Carré, began a move away from the playful irony of the camp spy fables and offered a far more skeptical and politicized critique of the state and Cold War espionage as Machiavellian in nature. This scepticism towards the state paved the way for the fourth dominant form of the spy film: the conspiracy thriller, which is examined in chapter 6. The 1970s conspiracy thriller represents the precise opposite of the semi-documentary in that it regards the state and state secrecy as the primary obstacle to historical veracity and authenticity. By asserting the possibility of recovering "historical truth" from the miasma of state secrecy, however, the conspiracy narrative moves away from the irony of 1960s spy cinema and articulates the possibility of the redemption of the past. This diachronic transformation of the American spy thriller from the semi-documentary to the conspiracy thriller traces the broader cultural process of growing distrust in government narratives.
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10

Cork, Kevin James. « Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales / ». View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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11

Franks, Kristin N. « Exclusion at the Border : Female Smugglers in Maria Full of Grace and Frozen River ». Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244470239.

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12

Ndounou, Monica White. « The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 / ». Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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Martins, de Souza Luiz Carlos 1968. « Cartas para quem ? = o funcionamento discursivo da "falta" no filme Central do Brasil ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268941.

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Orientador: Suzy Maria Lagazzi
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-20T05:11:48Z (GMT). No. of bitstreams: 1 MartinsdeSouza_LuizCarlos_D.pdf: 3983729 bytes, checksum: 646abf82afc9908b41ae8e482668e965 (MD5) Previous issue date: 2012
Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem
Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text
Doutorado
Linguistica
Doutor em Linguística
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14

Gutierrez, Robert Daniel. « Mainstream and marginalized the framing of black athletes in Glory road / ». To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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15

Wellborn, Brecken. « Musicals and the Margins : African-Americans, Women, and Queerness in the 21st Century American Musical ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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16

Esquivel-King, Reyna M. « Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945 ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601229993353.

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17

Wellborn, Brecken. « Musicals and the Margins : African-Americans, Women, and Queerness in the Twenty-First Century American Musical ». Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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18

Young, Kelcei. « And the Stereotype Award Goes to... : A Comparative Analysis of Directors using African American Stereotypes in Film ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609173/.

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This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.
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19

Arora, Kulvinder. « Assimilation and its counter-narratives twentieth-century European and South Asian immigrant narratives to the United States / ». Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3200730.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed March 1, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 240-248).
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20

Prince, Rob. « Say Hello to My Little Friend : De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero ». Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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21

Crum, Melissa Renee. « THE CREATION OF BLACK CHARACTER FORMULAS : A CRITICAL EXAMINATION OF STEREOTYPICAL ANTHROPOMORPHIC DEPICTIONS AND THEIR ROLE IN MAINTAINING WHITENESS ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268255174.

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22

Burton, Mary Ashley. « Contextos nacionales y transnacionales : la nueva reencarnación del melodrama mexicano en la película Bella (2006, Alejandro Monteverde) ». Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1334192023.

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23

Davidson, Daryl Malarry. « Joey Connor Larry Darrell : A Television/Streaming Series a Clef ». Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578318342890128.

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Bozzone, Daniella N. Young Tricia Henry. « Embodying the Italian-American an analytical look at bodily performances of Italian-Americans in film / ». 2004. http://etd.lib.fsu.edu/theses/available/etd-07182004-003452.

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Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Tricia Henry Young, Florida State University, College of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed Nov. 15, 2004). Includes bibliographical references.
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25

List, Jean Christine. « Chicano images strategies for ethnic self-representation in mainstream cinema / ». 1992. http://catalog.hathitrust.org/api/volumes/oclc/28968483.html.

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Thesis (Ph. D.)--Northwestern University, 1992.
UMI 9229953. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references p. 320-335).
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26

Puente, Henry Schatz Thomas. « The promotion of U.S. Latino films ». 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3143452.

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Seward, Adrienne Lanier. « Early Black film and folk tradition an interpretive analysis of the use of folklore in selected all-Black cast feature films / ». 1985. http://catalog.hathitrust.org/api/volumes/oclc/17241141.html.

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28

Alonzo, Juan J. « Derision and desire the ambivalence of Mexican identity in American literature and film / ». 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3119657.

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Puente, Henry. « The promotion of U.S. Latino films ». Thesis, 2004. http://hdl.handle.net/2152/1296.

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30

Lim, Kevin. « Asian North American film : images, reactions and criticisms / ». 2008. 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:MR38801.

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Thesis (M.A.)--York University, 2008. Graduate Programme in Film.
Typescript. Includes bibliographical references (leaves 86-91). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: 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:MR38801
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Park, Chi Hyun Watkins S. Craig Downing John. « Orientalism in U.S. cyberpunk cinema from Blade runner to the Matrix ». 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/2159/parkch042.pdf.

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32

Alonzo, Juan José. « Derision and desire : the ambivalence of Mexican identity in American literature and film ». Thesis, 2003. http://hdl.handle.net/2152/432.

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Moser, Joseph Paul. « Patriarchs, pugilists, and peacemakers : interrogating masculinity in Irish film ». 2008. http://hdl.handle.net/2152/17943.

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Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass).
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Park, Chi Hyun. « Orientalism in U.S. cyberpunk cinema from Blade runner to the Matrix ». Thesis, 2004. http://hdl.handle.net/2152/2159.

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Beltrán, Mary Caudle. « Bronze seduction the shaping of Latina stardom in Hollywood film and star publicity / ». 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108457.

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Bojadzija, Amira. « Nostalgic (re)construction of the Central European cultural space ». 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94968&T=F.

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Beltrán, Mary Caudle. « Bronze seduction : the shaping of Latina stardom in Hollywood film and star publicity ». Thesis, 2002. http://hdl.handle.net/2152/456.

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Metzler, Jessica Lhamon W. T. « Genuine spectacle sliding positionality in the works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee / ». Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-01192006-155938.

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Thesis (M. A.)--Florida State University, 2006.
Advisor: W.T. Lhamon, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains vii, 67 pages. Includes bibliographical references.
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