Thèses : « Industry Pictures »

1

Wang, Ting. « Global Hollywood and China's filmed entertainment industry ». online access from Digital Dissertation Consortium access full-text, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3230167.

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McKenzie, Jordi. « An economic analysis of motion pictures in the Australian cinema industry, 1997-2000 ». Connect to full text, 2005. http://hdl.handle.net/2123/1794.

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Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?].
Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.

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3

司若. « 中國電影大片路 = The high concept movies in China ». HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/799.

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Watkins, Jessica. « From fallen women to risen heroines representations of gender and sexuality in American film, 1929-1942 / ». Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=539.

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5

Niemand, Ella Catharina. « Reinventing cinema a perspective on the implications of the Internet on the cinema industry / ». Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11082004-134651/.

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6

Ryu, Jae Hyung. « Reality & ; effect a cultural history of visual effects / ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.
Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

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Falicov, Tamara Leah. « The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

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8

Huggett, Nancy. « A cultural history of cinema-going in the Illawarra (1900-50) ». Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.
Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).

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9

Carter, Sandra Gayle. « Moroccan cinema : what Moroccan cinema ? / ». Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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10

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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11

Overpeck, Deron. « Out of the dark American film exhibition : political action and industrial change, 1966-1986 / ». Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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12

Phillips, Julie D. « Rape myths in the American movie industry : a content analysis and feminist criticism ». Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941729.

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This study explored rape depictions and rape myths in the mainstream American filmindustry. Four rape myths pervade American culture. The myths argue that women "ask" for rape, "deserve" rape, lie about rape, and are not really hurt by rape. These myths place blame on the victim and absolve the rapists on any wrongdoing. Furthermore, these myths attempt to justify male sexual aggression against women.This study explored film's portrayal of the rape event, the victim, the rapist, and the depiction of specific rape myths. A content analysis of 16 American films released between 1982 and 1994 revealed 27 victims of rape. The content analysis also provided a descriptive analysis of the rape event while a feminist analysis revealed the films' underlying ideological underpinnings.The content analysis revealed that the films distort rape by consistently portraying the rapist and victim as young white, middle class men and women. Additionally, the relationship between victim and rapist was distorted as well as the legal aftermath of the rape.The feminist analysis revealed that films perpetuate rape myths more frequently than they challenge these myths. In some instances, films presented the reality of rape, particularly the environment the victim would enter. Most films, however, advanced patriarchal beliefs about rape.
Department of Journalism

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13

Yu, Gwo-chauo. « China, Hong Kong, and Taiwan : The Convergence and Interaction of Chinese Film ». Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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Tosaka, Yuji. « Hollywood goes to Tokyo American cultural expansion and imperial Japan, 1918-1941 / ». Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060967792.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.

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15

黃曉恩. « 華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s ». HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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Shresthova, Sangita. « Between cinema and performance globalizing Bollywood dance / ». Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1621833861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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17

Reid, Mary Anne. « Success factors in Australian cinema in the 1990s ». Thesis, Queensland University of Technology, 2000.

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The main body of this research thesis employs a combination of case study and national data to discuss the concept of 'success' in relation to the Australian film industry in the 1990s. Faced with the problem of measuring 'success', my approach has been to apportion success into 'commercial' and 'critical', in relation to three Australian films - Muriel's Wedding, Love And Other Catastrophes and Kiss or Kill - each of which is considered to have been successful in one way or another. The purpose of these case studies is to demonstrate that films can be successful at different levels - niche or mainstream - and that in commercial terms, 'successful for whom?' depends on where one stands in the long chain of creators, marketers and exhibitor/broadcasters of a single film.

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So, Mei-fong. « The feasibility of implementing industry self-regulation of film censorship in Hong Kong ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36411255.

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19

Meeuf, Russell W. « Wayne's world : John Wayne, transnational stardom, and global Hollywood in the fifties / ». Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883679191&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Orfall, Blair. « Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema / ». Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Athique, Adrian Mabbott. « Non-resident cinema transnational audiences for Indian films / ». Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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22

Simpson, Catherine. « Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 ». Thesis, Simpson, Catherine (2000) Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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Simpson, Catherine. « Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 / ». Simpson, Catherine (2000) Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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Yeung, Chun. « The colour spectrum : radical (mis)representation as identity construction in HK cinema from 1970s to the present ». HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1180.

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Urquhart, Peter. « 1979 : reading the tax-shelter boom in Canadian film history ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.

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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them.
I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period.
The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.

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Drake, Susan Wiebe. « María Félix the last great Mexican film diva : the representation of women in Mexican film, 1940-1970 / ». Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118953316.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains viii, 177 p. Includes bibliographical references (p. 165-177). Available online via OhioLINK's ETD Center

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Boden, Susan, et n/a. « 'an unsettled state' : the real and the imainary in Australian cinematic and designed landscapes ». University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.

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This thesis considers varied representations of landscape in Australian narrative film and designed landscape. Landscape is taken as an active concept that combines the associative meanings of place and the dynamism of space. Sixteen film and designed landscapes are examined to derive their landscape sources, forms and ideas, using the methodology of 'contextual poetics', Each of these landscapes is considered under a specific theme: landscape as delight, absence, nation or hope. In addition to detailing specific landscape responses by the designers of the examined landscapes, this project aims to contribute to an enhanced conversation about the effective, just practice of landscape architecture. The topic derives from a question central to landscape architectural practice in a post-colonial context, such as Australia. In a cultural setting where no single, agreed definition of landscape is allowed by the conditions of its history, which versions do practitioners of landscape architecture take up? What should be their limits, where are their inspirations and whose landscape narratives are ignored in these decisions?

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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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Lam, Sui-kwong Sunny. « The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment ? / ». Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

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Makhubu, Nomusa Mary. « The fantastic subject : a visio-cultural study of Nollywood video-film ». Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1021166.

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The increasing popularity of Nigerian video-film, defined as the ‘Nollywood phenomenon’ (Barrot 2008, Haynes 2010, Adesokan 2011), has attracted recent interdisciplinary academic attention, now known as ‘Nollywood Studies’. The aesthetics and ideological approach of Nollywood video-film are often differentiated from those of the long-established and illustrious African Cinema. Films of Africa are, however, generally characterised by seemingly unique forms of the fantastic – an uneasy theme in scholarship on Nollywood. Although Nollywood video-film is commended by some scholars, its representation of the supernatural and the fantastic is often perceived to be demeaning. Considering the complexity of fantastic themes in creative arts of Africa, this study contributes to this field of study by positioning Nollywood as an interventionist artistic practice that subverts the division between art and popular culture. Further, it considers how this positioning could shift our thinking about what constitutes art and creative practice in Africa. The distinctions between art and popular culture have been inherited from particularly Western disciplines. A critical analysis of the fantastic in Nollywood could expand interpretations of the broader uses of new media and appropriation and develop the discourse on contemporary creative practices of Africa and the parameters of the art history discipline. I interrogate the visual language of the video-film medium through a discussion of other forms of artistic media such as photography, video art, and performance art. The fantastic themes, such as ‘magic’, ‘fetishism’ and violence, conveyed through new media open up a field of questions regarding contemporary social-political dynamics. The cultural value of Nollywood video-film is often based on who makes it. As a proletarian product, Nollywood has been underestimated as a ‘low’ form of culture. Its use of appropriated material connotes the complex dialectics that formulate class difference. I consider how a positioning of video-film as a creative practice could be complicated by the fact that it also operates as a theocentric implement that is used by churches to evangelise. Moreover, I examine how ‘epic’ films construct idyllic notions of ‘ethnicity’ based on dialectics of rational/irrational or real/fantastic. Nollywood video-film also creates images of fantastic spaces. In this thesis, I address concepts of space in Nollywood from which fantastic desire is constructed.

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Prime, Rebecca Lynn. « Intimate strangers blacklisted filmmakers in postwar Europe / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835961&sid=4&Fmt=2&clientId=48051&RQT=309&VName=PQD.

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Ford, Conny (Conny M. ). « Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995) ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.

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The purpose of this study is (1) to examine mainstream studio films and their marketing (2) to examine independent films and their marketing (3) to explore the marketing challenges of independent films (4) to explore new developments in independent film and the emergence of crossover films (5) to explore the benefits of alliances between the major studios and independent film distributors (6) to examine the diminishing differences between major studio films and independent films.

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Sa, Neto Arthur Autran Franco de. « O pensamento industrial cinematografico brasileiro ». [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.

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Orientador: Jose Mario Ortiz Ramos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T03:27:30Z (GMT). No. of bitstreams: 1 SaNeto_ArthurAutranFrancode_D.pdf: 11882720 bytes, checksum: db30cbb6ee1df82ebd19160092a2442e (MD5) Previous issue date: 2004
Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca chegou a se configurar plenamente, investigam-se quais as propostas para sua constituição, analisando desde as promessas aí contidas até suas limitações e contradições. Para realizar tal pesquisa foram utilizados livros, artigos, entrevistas, memórias e os próprios filmes nos quais diretores, críticos, produtores e políticos expõem suas idéias sobre como formar a indústria cinematográfica e quais devem ser os seus objetivos econômicos e culturais. Também foram realizadas comparações com o rádio e a televisão, a fim de se delinear diferenças presentes no ideário das três áreas passíveis de explicar, ainda que parcialmente, os motivos pelos quais o cinema não se desenvolveu economicamente tanto quanto aquelas indústrias culturais
Abstract: Not informed.
Doutorado
Multimeios
Doutor em Multimeios

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So, Mei-fong, et 蘇美芳. « The feasibility of implementing industry self-regulation of film censorship in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36411255.

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Mills, Jane Kathryn. « Hollywood and its others : porous borders and creative tensions in the transnational screenscape ». Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.

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Asare, Kofi. « Pentecostal-Charismatic Christianity in video films : audience reception and appropriation in Ghana and the UK ». Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8903.

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Religion has become one of the central themes in the Ghanaian/Nigerian video film industry. The portrayal of religious elements which mirrors the religious dynamics of the audience has been attributed partly to the success and popularity of the films. The video films have also excited religious passions as well as criticisms. The heart of the debate, as the existing studies indicate, is how the various religious traditions (often, Christianity and Indigenous religions) are represented in the video films. Whereas some scholars opine that Christianity, especially Pentecostal-Charismatic Churches are frequently privileged, others contend that the religious delineation in the video films reflect experiential issues; the churches are portrayed in line with the niche, positive or otherwise, that they have created for themselves which is well known to producers and the consumers. This study examines the religious constructs in the Ghanaian/Nigerian video films phenomenon. The main focus is an investigation into audience reception of the video films, particularly among the members of Pentecostal-Charismatic Christianity in Ghana and the UK. It also explores the appropriation of the religious elements in general and Pentecostal-Charismatic narratives in selected video films. An ethnographic research method, comprising mainly of textual analysis of selected video films; participant observation and qualitative interviews, was used to draw comparative insights from a cross section of members of Action Chapel International and Word Miracle International churches in Accra and London. This thesis contributes to the on-going discourse on the Ghanaian/Nigerian video films and Pentecostal-Charismatic Christianity partly popularized by Birgit Meyer and Afe Adogame. Hall’s Encoding/Decoding theoretical framework is used to explore the reception while the Uses and Gratifications theory is also adopted to examine the appropriation of the religious constructs in the Ghanaian/Nigerian video films. Notwithstanding the fluid representations of various religious traditions in Ghanaian/Nigerian video films, the findings show that the reception and uses of the religious narratives in the films by the audience comprise of a synthesis of full embrace on one hand and scepticism on the other. It was found that beyond entertainment, majority of the audience who were members of Pentecostal-Charismatic Christianity focus on the religious significance of the video films. Yet, most pastors and leaders in these churches were not comfortable recommending the video films as a good partner in the religious lives of their members. As this thesis focused on only Pentecostal-Charismatic audience, further research on members of other Christian denominations or religions regarding their self-representation in the video films is recommended. This will help to establish if the reception pattern of other religious groups is complex or linked directly with the portrayal trend of one’s religion.

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Watkins, Fred P. « Independent Feature Filmmaking : the Historical Development of Current Methods ». Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.

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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

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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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Lai, Suet-fun Betsy, et 賴雪芬. « Nanbei (south-north) comedies in Hong Kong cinema : transregional film industry and Hong Kong identity ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/208079.

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In this paper, I attempt to use the concept of “transregional imagination” by Zhang Yingjin to depict the Hong Kong film industry in the early 60s and examine how it has transformed the industry practices in Hong Kong cinema and shaped the Hong Kong identity. For decades, Hong Kong cinema has been of regional and transregional importance. The influx of film artists from the north, especially Shanghai, during the post-war period brought a cosmopolitan outlook to the industry. This was coupled with the investment of overseas Chinese from Singapore which helped to expand the distribution network of Hong Kong films within a short time. By tracing the historical development of the industry, I wish to revisit the major events in the region which have contributed to the uniqueness of Hong Kong culture. I would also like to illustrate the characteristics of the transregionalism through the study of a trilogy of nanbei (literally, south and north) comedies released in the early 60s by the MP&GI company. They are The Greatest Civil War on Earth (Nanbei He, 1961); The Greatest Wedding on Earth (Nanbei Yi Jia Qin, 1962) and The Greatest Love Affair on Earth (Nanbei Xi Xian Feng, 1964) which depict the conflicts between the Mandarin-speaking “Northerners” (mainly from Shanghai and neighbouring cities) and Cantonese-speaking “Southerners”. The transregional imagination is manifested in these films which have the benefit of funding from overseas Chinese, casting from Shanghai and local artists, screenwriters from USA, production team mainly from the north, distribution network across regions and audience from international markets. I would further examine the comedy genre as a common language among diversified cultures and a discussion of modernity through an analysis of the company’s business strategies and the scenes which depict western values and urban images of Hong Kong during the 60s. I hope the analysis will be able to rediscover the transregional advantages that Hong Kong film industry has enjoyed and which, I believe, have also paved the way for its positioning in the era of globalization.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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Ahearn, John P. (John Patrick). « A History of Contemporary Independent Film Marketing in the United States (1989-1998) ». Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277701/.

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This study explores the reasons for the rise in independent film's popularity, which have created a unique Hollywood phenomenon, the successful "mini-major" independent studio, dedicated to both art and commerce. Chapters cover the history of independent film, characteristics of both independent and mainstreamfilms with regards to financing, acquisition, distribution and marketing, trends within independent film in the late 1980s and 1990s, crucial distributors and landmark independent films, and key growth areas in the future for independent film.

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Mills, Jane Kathryn. « Hollywood and its others porous borders and creative tensions in the transnational screenscape / ». View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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Thesis (Ph.D) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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Chisholm, Darlene C. « Optimal contract design : a theoretical and empirical investigation of profit-sharing in the U.S. motion-pictures industry / ». Thesis, Connect to this title online ; UW restricted, 1991. http://hdl.handle.net/1773/7479.

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Jarvinen, Lisa. « Hollywood's shadow the American film industry and its Spanish-speaking markets during the transition to sound, 1929--1936 / ». Related electronic resource : Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Lam, Sui-kwong Sunny, et 林萃光. « The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or localredeployment ? » Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.

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Gatti, Andre Piero. « Distribuição e exibição na industria cinematografica brasileira (1993-2003) ». [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284789.

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Orientador: Fernão Vitor Pessoa de Almeida Ramos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-05T12:46:53Z (GMT). No. of bitstreams: 1 Gatti_AndrePiero_D.pdf: 2047629 bytes, checksum: 548d5102f2ec067e18c69a67267d9123 (MD5) Previous issue date: 2005
Resumo: Objetivo desta pesquisa é o de entender como aconteceram as relações econômicas no seio da indústria cinematográfica brasileira, isto no período que ficou conhecido como o da 'Retomada do cinema brasileiro (1903-2003)¿. A tentativa do presente trabalho teve como principal objeto delinear de que maneira se desenvolveu a produção recente do cinema brasileiro e o momento de internacionalização da comercialização deste setor da indústria. Isto porque a exibição e distribuição do produto nacional mudaram bastante neste momento. Esta é a nossa tarefa
Abstract: The purpose of this research is to understand the relations between the brazilian film industry, particulary in the period known as ¿Retomada do cinema brasileiro (1993-2003)¿. We tried to figure out how developed the brazilian film production with the new moment of the internationalization that ocurred in the comerciaization sector of the industry. Exhibition and distribuition changed a lot in this period and influenced directly the local industry. This is our task
Doutorado
Doutor em Multimeios

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Chung, Hsiao-Ling. « Managing the cross-industry networks of the audiovisual sector : a perspective from the independent screen productions in the UK and Taiwan ». Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2222/.

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The thesis is a qualitative account of the much neglected issues of the bottom-up, and interconnected organization of the Cross-Industry Network (CIN) phenomena within the Audiovisual Sector (AVS). The aims are achieved by exploring the why and how of the independent screen content producers in developing CIN during the production process. By conceptualizing the CIN phenomenon as a Complex Adaptive System (CAS), I used its theories as analogies to analyze the multi-case and multi-level studies conducted at two scenarios of independent TV production sector in the UK/ the developed, and the independent film production sector in Taiwan/the developing. My research produced the following four conclusions. 1. From Top-Down Industry Disintegration to Bottom-up Production Reconfiguration The industrial disintegration of the media industry has resulted in the reconfiguration of content production networks and intense self-adaptation of creative producers who are facing multi-directional connections within the CIN during their production process. Such adaptation reveals tensions between the producers’ self-perception as ‘independent’ and ‘creative’ producers and their networking decisions and actions. 2. From Managing the Creative Project to Managing the Creative and Commercial Venture The evolution of the CIN in the creative and media production is not entirely top-down/linear/serial, but more accurately, bottom-up/ non-linear/parallel. These internal self-organizing dynamics enable the production network to radiate outwardly, which induces trade-offs between and beyond commercial and creative priorities. 3. From Distribution-led Value System to Production-led Microcosm The production process has evolved its own diverse CIN, involving different types of relationships, a higher degree of complexity and structural tensions inherent in the value-creating system. Such production-led networking functions are the most fundamental source for developing broader CIN and the economic return for creative producers. 4. From Network Adaptation to Complex Adaptive System The networking activities of independent and creative producers radiate and interact outwards to connect and affect all levels of the network, resulting in unexpected directions and complex collaborations. In particular, the elements of multi-directional adaptation and tensions of the involved network actors have an important impact on the emergence and organization of the network. The main contributions of the research are firstly to have taken a bottom-up analysis by integrating the micro-level organizational complexity of the independent production into the theorizing about the AVS; and secondly, to have placed the intangible values and real practice of creative producers at the centre of the network study.

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Sörling, Marie-Louise, et Viktor Wallgren. « Media Placement of Locations : An Exploratory Study of the Possible Trends within the Film Industry ». Thesis, Jönköping University, JIBS, Business Administration, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-159.

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Product placement is a relatively new idea within marketing. Despite this, it has become a more accepted and used concept, especially within the motion picture industry. It has been noticed that exposure on screen has had a positive effect on sales of the showed products, even though there are still no clear method to measure its efficiency. Evidence has shown that there is an increased tourism to destinations exposed on screen. For example, the movie Braveheart increased tourism to Scotland, Notting Hill has brought attention to London’s district Notting Hill, and the books of Wallander has benefited Ystad. We therefore see a possible development of product placement, which so far only has incorporated products, to also include placement of geographical places (cities, region or nations etc), i.e. location placement. The exposures that to this point has occurred has been random, with no active participation from marketers or filmmakers.

Our purpose is to investigate if media placement of locations (defined as paying for the placement) is a possible future source of revenue for location marketers as well as film and product placement agencies.

We have interviewed people from three main areas: marketer of a geographical location, product placement agency, and representatives from the film production. Since we had some problems collecting sufficient data, we decided to complement our empirical findings with secondary data.

We see a potential development of location placements. It does however require some conditions to be fulfilled. First, the placement must be seamlessly placed, should lead the story forward and should not be the main focus before the script. Second, the placement must be communicated openly throughout the entire production process and with all parties involved. Finally we see that placement must be founded on good relationships and having the right channels. The actors involved in a location placement are the marketer, product placement agency, location shout, director and other film production crew.

To sum up, a well thought-thru location placement that are consistent with the overall location brand image and the story, would benefit both the location and the film.

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Brown, Anna Marie. « Cinerati ». PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.

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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.

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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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Boshoff, Priscilla. « Diasporic consciousness and Bollywood : South African Indian youth and the meanings they make of Indian film ». Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006249.

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A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.

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Thèses sur le sujet « Industry Pictures »

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