Thèses sur le sujet « Spawn (Motion picture) »
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Van, Liew Maria. « Democratic women : gender, national discourse and the cinema of post-Franco Spain / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.
Texte intégralKritzinger, 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.
Texte intégralArchibald, David. « The Spanish Civil War in cinema ». Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1089/.
Texte intégralCavielles-Llamas, Ivan. « De otros a nosotros el cine Español sobre inmigración y su camino hacia una visión pluricultural de España (1990-2007) / ». Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/246/.
Texte intégralReyes, Clara Irene. « Aesthetics : beauty and the sublime in the representation of violence an analysis of contemporary film and novel in Spain and Latin America / ». Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1091660144.
Texte intégralKennedy, Tara L. « La ley de memoria histórica en el cine y la novela españoles ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404541/.
Texte intégralSaeger, J'Leen Manning. « The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression / ». Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.
Texte intégralIncludes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.
Romero-González, Tanya. « El enigma de Medem : Espacio, género y desdoblamiento en Vacas ». Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259193836.
Texte intégralArdanaz, Yunta Natalia. « El cine del destape : un análisis histórico desde la perspectiva de género ». Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666221.
Texte intégralThe present investigation centers on the cinema known as “the uncovering” (“el destape”), which is defined by the eruption of naked bodies, mainly female, on cinema screens; a phenomenon that acquired great social and political significance in Spain and which is unparalleled in the cinema history of other countries. To analyse the cinema of “the uncovering” from a historical perspective, we have established the beginning of our investigation in the “celtiberic sexy comedies” that appeared in the last stages of Franco's dictatorship (tardofranquismo). A collection of very popular comedies which started to appear once the regime´s censorship was over, and where we find the roots of the need for sexual liberation, something that started to shape the phenomenon of “the uncovering”. Therefore if we consider that as its origin, we also need to consider the legalisation of porno films in 1984 as the end of the process, a factor that indicates the normalisation of sex in the lives of the Spanish people precisely when the democratic consolidation took place. During the approximately twenty years that covers our present investigation, we will see how the most consumed films were unveiling discourses around the female body which were closely linked to the weight of Francoist morality and the established gender order. Hence, we have mainly focused our research on analysing the discursive construction of male and female archetypes, homing in on the continuities and fissures of the gender order, using the revelation of the female form as a pretext. We have studied this cinema as a new source for a rereading of an arguably over-analysed historical period, but one where new and complex readings can certainly be made. In this way, we have differentiated films with nudity from films that uncover frustrated behaviours, emotions and desires, especially in the area of sexuality. The popular cinema of those years had an enormous capacity to entertain and thrill millions of Spanish people and thus was used as a means of transmitting the official Franco discourse, both to perpetuate the regime and its ideology, and to adapt to the new times. This fictional cinema, with its superfluous and harmless appearance, represents a mechanism of power and its presence as a backbone in the field of social behaviour. But, in turn, it shows deviations in the way these archetypes act, and how these archetypes foretold the changes taking place and that has been one of the objectives of this investigation, something that indeed makes this cinema both agent and witness to a crucial historical moment.
Medrano, Coll Francisco Javier. « El cine argumental español durante la dictadura de Primo de Rivera : 1923-1930 ». Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398714.
Texte intégralThe dictatorship of general Primo de Rivera has yet to be studied in detail. Recently, there is an increased interest in a deeper analysis of his nature and character. The aims of this research are to verify whether or not the cinema of that time was a reflection of Spanish society and whether it had the capacity to influence that society. Also, it will attempt to establish whether it was used as a tool to transmit ideological content. To ascertain whether cinema is capable of influencing society, it is useful to have an idea of the number of this films produced, where they were produced, whether screenings were well attended, and whether the content of the films was the type of material likely to influence audiences. In Spain, around 240 films were made. However, there are two things to bear in mind which can influence our findings: that of the films made in Spain, usually few copies were made, and in addition, the cinema of this era being a mass-medium, the interest of the audiences was primarily in the films of Hollywood. Consequently the capacity of Spanish cinema to influence society is limited. As regards whether the society of that time was reflected, this is the case for more than half of the films studied. When we ask whether they can go as far as to influence society, the answer will be different. To achieve this, it is necessary to meet three conditions: that the film attempts to have influence, that the film is a success –and, accordingly, many people see it- and that the film has an impact on audiences. We find only a few films which meet these conditions. The last objective is to examine the power of cinema as an ideological instrument in favour of or against the Dictatorship. Almost half of the films studied transmit some ideas which could be considered ideological. There is a significant body of material which shares some or all of the ideals of the Dictatorship. We only find two films which position themselves against it. Finally, the credits of all the films produced during the Primo de Rivera dictatorship are provided as an appendix.
Soler, i. Alomà M. Encarnació. « La sarsuela en el cinema com a imatge del quotidià : 1896-1940 ». Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.
Texte intégralAtutxa, Ibai. « Toxic Criminalities in Francoist Spain : The Making of a European Dictatorship ». Thesis, 2018. https://doi.org/10.7916/D8W683BX.
Texte intégralPhillips, Amy Louise. « Time, history and memory in the cinema of Pedro Almod{u00F3}var ». Master's thesis, 2010. http://hdl.handle.net/1885/150488.
Texte intégralWinkel, Adam Lee. « Zones of Influence : The Production of Madrid in Early Franco Spain ». Thesis, 2014. https://doi.org/10.7916/D86T0JN9.
Texte intégralHadley-Miller, Linda D. « Enseñar cultura a través del cine español ». Thesis, 2007. http://hdl.handle.net/1805/1054.
Texte intégralTitle from screen (viewed on June 6, 2007) Department of World Languages and Cultures, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 74-79)