Thèses : « Motion picture producers and directors »

1

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

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Law, Yuk-wa, et 羅玉華. « The poetics of absence : a study of Antonioni and Wenders ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42577093.

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Law, Yuk-wa. « The poetics of absence a study of Antonioni and Wenders / ». Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42577093.

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4

Sitnisky-Cole, Carolina. « La literatura y el cine Andinos de la segunda mitad del siglo XX de una modernidad sólida a una líquida / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973896441&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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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6

Udden, James. « Hou Hsiao-hsien and the aesthetics of historical experience ». access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.

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Altıner, Birsen. « Metin Erksan sineması ». Bağcılar, İstanbul : Pan, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62555500.html.

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8

Ng, Hoi-shan Crystal. « Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark ». Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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9

Hoffman, Alison R. « Our bodies, our cameras women's experimental cinema in the U.S., 1964-1976 / ». Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023781661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Lass, Barbara Frances. « Hans Richter : film artist / ». Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.

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11

Lin, Yiping, et 林一苹. « Lou Ye : the birth of a personal eye (I) ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517798.

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12

Field, Emma. « Only a trickle ? : blood in detail and three women's films / ». Connect to this title online, 2003. http://adt.lib.utas.edu.au/public/adt-TU20050315.093920.

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Tu, Haijing. « A Chinese director and his transition from critical banned filmmaker to box office success ». Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/TU_HAIJING_25.pdf.

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Ho, Ka-hang Jason. « Reinterpreting a queer experience a study of Stanley Kwan's films and their reception / ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B34877642.

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15

Sobotka, Jens U. « Die Filmwunderkinder Hans Abich und die Filmaufbau GmbH Göttingen / ». Düsseldorf : [s.n.], 1999. http://books.google.com/books?id=D3RZAAAAMAAJ.

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Hui, Suet-hung. « Subversive females : the politics of defiance in Zhang Yimou's films / ». Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059966.

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Papageorgopoulou, Maria Aikaterini. « Modern tragedy : Michael Cacoyannis' early films ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ff6b46b-1d25-4ef9-8c13-40962cfcd2b1.

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This thesis is an interpretation of three films by the Greek Cypriot director Michael Cacoyannis: Stella, 1955), To koritsi me ta mavra/A Girl in Black, 1956 and To teleftaio psema/A Matter of Dignity, 1958. These films appear early in Cacoyannis' career and very little has been written on them. My thesis seeks to show that they are accomplished and complex films, which merit close attention, both in virtue of their dramatic form and because of the ethical questions they raise regarding individual autonomy and the force of archaic ethical norms. The aim of this thesis is to interpret these films by examining the evolving motivations of their protagonists. The thesis seeks to show that the dramatic form of the films renders the agency of the protagonist partly intransparent. In order to show this, my thesis examines, on the one hand, how characterisation, perspective, character relationships and the development of the drama provide an internal context for agency in each film. On the other hand, the interpretation seeks to tease out the ethical implications and stakes of the dramatic action in each film. These implications, I argue, are structured by a thematic ambivalence running through these films between modernity, understood as subjective freedom, and archaic ethical norms, implying a limit to subjective freedom. In the approach to the films' dramatic form and their ethical implications, I am indebted to Hegel's aesthetic and ethical theory. I use the Hegelian term 'modern tragedy' to characterise both the dramatic form of these films and the ethical situation of their protagonists. I also situate these films within international auteur cinema of the 1950s and early 1960s. The thesis aims, thus, to contribute to scholarship on European auteur cinema of the mid-20th century. It also aims to be a contribution to the study of agency and ethics in film in general.

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Williams, Tami Michelle. « Beyond impressions the life and films of Germaine Dulac from aesthetics to politics / ». Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Lam, Shue-fung. « (Un)making Chineseness gender and cultural politics in Clara Law's films / ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37754191.

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Leonard, Richard James. « The Cinematic mystical gaze : the films of Peter Weir / ». Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00000471.

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Thesis (Ph.D.)--University of Melbourne, Cinema Stduies Program,School of Fine Arts,Classical Studies and Archaeology, 2004.
Typescript (photocopy). Includes bibliographical references (leaves 292-336).

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Sze, Siu-sin Jean, et 史筱倩. « Remapping Taipei : globalization and Edward Yang's films ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B29144711.

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Lam, Chung-keung Gary. « Disjunction of history, memory, and identity : the narrative of wanderings in Clara Law / ». Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25549741.

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郭賢偉 et Yin-wai Joseph Kwok. « The construction of gender identity in Hong Kong cinema ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B30257384.

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Ho, Ka-hang Jason, et 何家珩. « Reinterpreting a queer experience : a study ofStanley Kwan's films and their reception ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B34877642.

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Cheung, William, et 張鳳麟. « An evaluation of the new wave cinema in Hong Kong through the study offour directors : Patrick Tam, Allen Fong, AnnHui and Tsui Hark ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240033.

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Kritzinger, Christiaan Cornelius. « The interrelationships between meaning(s), form, cinematic technology and surrealist ideology in Luis Buñuel's, Un Chien Andalou (1929) ». Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007847.

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This study sets out to determine the interrelationship between meaning(s), form (specifically framing and composition), cinematic technology and the surrealist ideology with specific reference to Luis Buñuel’s film, Un Chien Andalou (1929). The study utilises a semiotic framework to analyse the seminal film, as well as the researcher’s short film Facebrick (2012). The semiotic reading is conducted according to key surrealist tenets namely, spatio-‐temporal disruption, the use of free-‐association and the inclusion of cultural, religious and sexual symbols as a revolutionary tool. Gillian Rose’s (2007) semiotic framework underpinned by James Monaco’s (1977) schema for analysing the moving image, was utilised to read the selected film texts. A comparative analysis reveals that although the researcher employed different cinematic technology to construct the short film than that available to Buñuel in the 1920s; similar cinematic techniques could be recreated, as the analysis shows, through the use of key surrealist characteristics. Not only did this allow mere reproduction of these techniques, but rather a full appropriation of these techniques within a contemporary context. Thus the techniques, communicate the surreal, both aesthetically and intellectually. The theoretical study provides the foundation for the practical output, creating a conceptual framework that guides the creation of a short film. The practical research component relies on the parameters identified in the semiotic reading. This was facilitated by the characteristics of Surrealism: the disruption of time and space, the inclusion of archetypal symbols and the use of free association. The short film, Facebrick (2012), follows a voyeur obsessed with gazing at three characters. The film explores the human condition in an urban environment drawing from themes such as Jean-‐Paul Sartre’s gaze theory as well as Freudian themes of identity and sexuality.

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Kwok, Lai-yung, et 郭麗容. « The politics of memory : in search of imaginary homes in films by Clara Law and Ann Hui ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227454.

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Lam, Chung-keung Gary, et 林仲強. « Disjunction of history, memory, and identity : the narrative of wanderings in Clara Law ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953530.

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Lam, Shue-fung, et 林澍峰. « (Un)making Chineseness : gender and cultural politics in Clara Law's films ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37754191.

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Tse, Wing-hin, et 謝穎軒. « Deconstructing the auteur : a study of the process of value-formation in the cinema of Wong Kar-wai ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206664.

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From a figure of controversy to an illustrious auteur with international renown and widespread critical acclaim, Wong Kar-wai remains unique in the history of Hong Kong cinema. While his films are often box-office failures and criticised for their artistic ostentations at home, Wong enjoys a celebrity status at international film festivals and his films remain a focus in academic studies worldwide. It is this disparity in the reception and value judgment of Wong as a filmmaker that this dissertation is interested in addressing. Thus the central thesis is to explore how critical discourse and institutions confer cultural prestige to his films that positively impact upon their reception and circulation. Existing literature on Wong’s oeuvre focuses eclectically on his artistic merits while side-stepping the material politics behind the reception and circulation of his films, and this dissertation aims to rectify this tendency by foregrounding the site of cultural production where all these cultural debates occur. If aesthetic and critical values are socially constructed, they are also predicated on a complex and changing nexus of multiple social, cultural and institutional factors. Art and their producers do not exist independently of a complex institutional framework which authorises, enables and legitimises them. Thus this dissertation is concerned with exploring how these discursive and institutional frameworks influence what is said and can be said about his films. Chapter 1 looks into how film festival emblematisesa dynamic system where a film accrues values as it circulates among mediators in their struggle for cultural legitimacy, thus exploring issues such as taste-construction and power relations among mediators. Through adopting a Bourdieuian paradigm, this chapter explores the significance of mediators in legitimising cultural values concerning the cinema of Wong Kar-wai in hope of broadening the analysis of festival films into the socio-economic and institutional conditions of their reception and circulation. Chapter 2 explores how the image of the auteur impacts upon the reception and circulation of the cinema of Wong Kar-wai vis-à-vis Corrigan’s idea of the commerce of auteurism which recontextualises auteurism within an industrial and commercial framework and foregrounds the branding of the auteur-star as a commercial strategy. In particular, I examine how the interviews of Wong Kar-wai can be read as a paratextual site where different mediators contribute to the cultural ‘investment’ in the construction of the celebrity sign. Chapter 3 marks a self-reflexive turn into exploring the nature of knowledge production in the formative process of canonisation. Through adopting Greg Urban’s notion of ‘metaculture’, I examine how knowledge production can function as a metacultural sphere that influences the circulation of cultural products such as films. An examination of canon formation not only reveals the values inherent in such assessments, but also foregrounds the cultural and institutional assumptions surrounding cinema’s shifting social and cultural significance. This dissertation therefore aims to broaden the scope of filmic analysis from textual-oriented criticism to exploring the institutional and discursive frameworks that construct cinematic values, also illuminating how these value judgements inform the continuing and evolving canonisation of films.
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Comparative Literature
Master
Master of Philosophy

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吳晶. « 杜琪峯的電影世界 : 香港電影作者個案研究 = The cinema world of Johnnie To : a case study of auteur in Hong Kong ». HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/906.

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Ng, Hoi-shan Crystal, et 吳海珊. « Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.

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Lee, Cheuk-chi, et 李卓智. « To live and forget : the limits of comprehension and remembrance in the feature films of Hirokazu Kore-eda ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B47753018.

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Often regarded as one of the eminent humanist directors working today, Japanese filmmaker Kore-eda Hirokazu has demonstrated consistent authorial intentions and thematic orientations throughout his filmography despite the variety of styles – from social documentary to period comedy – involved. Through in-depth textual analysis of his narrative strategies and exhaustive research on the English-language literature about the director, this study seeks to shed light on the first seven feature films in his career. Commentaries by Kore-eda on his creative impulse and filmmaking method, collected from both diverse sources of media interviews and insightful analyses published in academic journals, are meticulously examined. By taking a formalistic perspective, this thesis sets out to consolidate existing research in the field, while providing a systematic study that builds upon authoritative investigation. The study begins with an analysis of the filmmaking techniques utilised in Maborosi and Distance, both contemplative narratives that seek to capture the fragmented consciousness of the characters in mourning. With its seemingly naturalistic composition, Maborosi nonetheless presents a partially abstract narrative that is directly reflective of the grieving protagonist’s inner state. Distance, on the contrary, offers hints to the possible cause of the family members’ plans to join a religious cult and commit mass suicides – such as the emotional isolation in an urban society – while providing a final plot twist that confirms the slippery quality of any assumption. Both films imply that full comprehension of one’s family members is impossible. In the following chapter, the coherent authorial concerns in Kore-eda’s fourth to sixth feature – Nobody Knows, Hana and Still Walking – are illustrated along with his fascination with the process of forgetting. Kore-eda, who started out as a socio-documentarist, borrowed a real-life tragedy as the framework for Nobody Knows to construct a subversive take on the traditional perception of the Japanese family, extending a decidedly non-judgemental view on the irresponsible parents and celebrating the autonomy of the new generation. The solace of memory is highlighted in the anti-bushido comedy Hana, which is interpreted as Kore-eda’s protest against tradition and, by extension, the older generation. The director’s recurrent themes of broken promises, failed expectations and forgotten family legacies are highlighted with the slice-of-life domestic drama, Still Walking. The thesis then concludes with an analysis of the fantastic representations of the human condition in After Life and Air Doll, Kore-eda’s only two fantasy films to date. His use of quasi-realist documentary style in After Life facilitates a largely non-religious meditation on the importance of human co-dependence and recollection. The film’s metaphysical setting is compared to the absurd existence pondered in Albert Camus’s “The Myth of Sisyphus”, and its central premise – that the affirmation of one single memory can validate a person’s entire existence – is compared to Friedrich Nietzsche’s thesis of the eternal return. Also adopting the perspective of a non-human protagonist, Air Doll extends Kore-eda’s perception of the depressing prospects of modern life – substantiating the city dwellers’ pervasive sense of emptiness, while constantly looking for the beauty of living.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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Tsui, Kin-chung. « Wong Kar-wai : the filmmaker of solitude / ». Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262257.

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Sexton-Finck, Larissa Sexton-Finck Larissa. « Be(coming) reel independent woman : an autoethnographic journey through female subjectivity and agency in contemporary cinema with particular reference to independent scriptwriting practice / ». Murdoch University Digital Theses Program, 2009. https://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.

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Thesis (Ph.D.)--Murdoch University, 2009.
Thesis submitted to the Faculty of Creative Technologies and Media. Includes the screenplay, Float, by Larissa Sexton-Finck. Includes bibliographical references.

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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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Chen, Fangyu. « The post-2000 Hong Kong film workers ». HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.

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Vonderheide, Leah. « Literariness in the films of Eric Rohmer ». Thesis, University of Canterbury. Theatre and Film Studies, 2008. http://hdl.handle.net/10092/2158.

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This thesis is an exploration of the writings and films of French filmmaker, Eric Rohmer. I give an overview of the historical context of Rohmer and his work, as well as explore the notion of literariness, literariness in film, and literariness in the films of Eric Rohmer. Though Rohmer was widely known as a cinéaste, he helped shape the French New Wave from the position of critical writer. In the early fifties, Rohmer joined François Truffaut, Jean-Luc Godard, Claude Chabrol, and Jacques Rivette to write for the newly established Cahiers du Cinéma. I analyze how Rohmer’s critical work at the Cahiers, as well as his later film work, responds to theories of literariness in film from Alexandre Astruc and François Truffaut. Rohmer invokes literariness when he creates films in series. Just as the moral tale serves as the literary model for each of the films in Six contes moraux/Six Moral Tales, the fairy tale serves as the model for each seasonal tale in Contes des quatre saisons/Tales of the Four Seasons. The literary models that Rohmer uses to create his films can be considered “light” forms, such as the moral tale or the fairy tale. However, the content of his films often relies on “heavy” literature, such as Blaise Pascal’s Pensées/Thoughts or William Shakespeare’s The Winter’s Tale. Each chapter examines a particular film to explore the various dimensions of “light” and “heavy” literature, and how they inform the textual strategies of Rohmer’s films. The films that I analyse, Ma Nuit chez Maud/My Night at Maud’s (1969), La Marquise d’O…/The Marquise d’O… (1976), La Femme de l’aviateur/The Aviator’s Wife (1980), and Conte d’hiver/A Tale of Winter (1992), represent a cross-section of Rohmer’s work as an auteur. Analysis reveals that each film speaks to “literariness” in its own way.

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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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李雅詩 et Nga-sze Sabrina Li. « Postmodernism and globalization in Wong Kar Wai's films ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42576349.

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Li, Nga-sze Sabrina. « Postmodernism and globalization in Wong Kar Wai's films ». Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42576349.

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Bae, Sang-Joon. « Rainer Werner Fassbinder und seine filmästhetische Stilisierung ». Remscheid : Gardez ! Verlag, 2005. http://books.google.com/books?id=4eZkAAAAMAAJ.

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Kwok, Yin-wai Joseph. « The construction of gender identity in Hong Kong cinema / ». Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp ?

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Lau, Wai Sim. « Hong Kong auteurs in Hollywood : the case of John Woo ». HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/437.

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Cheung, William. « An evaluation of the new wave cinema in Hong Kong through the study of four directors : Patrick Tam, Allen Fong, Ann Hui and Tsui Hark / ». Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030335.

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Hui, Suet-hung, et 許雪紅. « Subversive females : the politics of defiance in Zhang Yimou's films ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951648.

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Ip, Wing Cheung. « Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s ». HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.

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Dickinson, Matthew G. Musser Dale Roy. « Architecting the spatial enablement of a film location database for enhanced geographic analysis and query ». Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6729.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Dale R. Musser. Includes bibliographical references.

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Sampson, Desiree. « Towards a Caribbean Cinema - Can there be or is there a Caribbean cinema ? » Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1103230687.

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Allen, J. M. « The films of Asrul Sani from 1966 to 1983 : a new art for a new mankind ». Thesis, The University of Sydney, 2000. http://hdl.handle.net/2123/20354.

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Why an Indonesian poet and short story writer like Asrul Sani became a film writer and director, and how his work expressed himself and his society in changing times, were the first questions stimulating this research. He claimed that art could be an "engineer of the soul" in a modernising society. Educated in both the Dutch and nationalist Taman Siswa sytems, he travelled overseas to study Western drama and film, and to perform the haj. He wrote extensively on cultural issues and became a cultural bureaucrat. Though his output is diverse, there are some continuous strands in his thinking and methods. His film work invites analysis for its weaving of Muslim and Western strands into the Indonesianising of a technological art form, and as proof of the sincerity of cultural manifestos he declared at times of political strain. Research by others into Indonesian film has explored the history of government policies, narrative style and conventions of genre and characterisation. Examining four films as examples of four different genres, in the context of Sani's other work, allows discovery of the complex creativity of an exemplar who desired "a new art for a new mankind". Choosing a set period permits discovery of the context from which films can be interpreted. Some Third World film theories and postcolonial literary theory are used to test these discoveries. Sani's work examines the leadership role of intellectuals, artists and religious scholars and the place of the masses. It expresses Islamic doctrine and convictions and translates them into patterns of moral code and legitimisation of the socio-political environment. Sani seeks too to encourage dynamism and spiritual rearmament. Sometimes his images are complex and his techniques can be read at several levels. His personal vision often dims, his commitment to film as poetry and as "a thorny conscience" falters, but some sense of hope remains.

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Thèses sur le sujet « Motion picture producers and directors »

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