Thèses : « Swiss Motion picture plays »

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Pramik, Nicole R. « Chaotic angel ». Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=730.

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Perkins, Margaret. « Song of Bacchus a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2004 ». Full thesis. Abstract, 2004.

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Abruzzi, Geoffrey. « Three screenplays ». 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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Cooper, Madeline. « Exegesis and screenplay for a feature film entitled : PictureSque a dissertation submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Bachelor of Communication Studies (Honours) (BCS(Hons)), 2008 / ». Click here to access this resource online, 2008.

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Snead, Nicholas DeVan. « Fabulistic : Examination and application of narratology and screenplay craft ». CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.

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This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

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Melville, Andrew. « Exegesis and screenplay for a film entitled Mangrove a thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Communication Studies), August 2004 ». Full thesis. Abstract, 2004.

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Exegesis (MA--Communication Studies) -- Auckland University of Technology, 2004.
Title page and table of contents missing from e-thesis. Also held in print (14 p., 30 cm.) in Wellesley Theses Collection (T 791.4372 MEL)

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Armanno, Venero. « Three screenplay adaptations and the ownership effect ». Thesis, Queensland University of Technology, 2003.

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This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel, and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas. Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.

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Eggert, Silke. « Exegesis and screenplay for a film entitled : Spaces between us a thesis submitted to the AUT University in partial fulfilment of the degree of Masters of Communication studies (MCS), 2008 / ». Click here to access this resource online, 2008. http://hdl.handle.net/10292/482.

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Su, Xinxin. « Genesis : a feature screenplay / ». Online version of thesis, 2009. http://hdl.handle.net/1850/8692.

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McVeigh, Kathryn Margaret. « Work in progress : the writing of Short changed ». Thesis, Queensland University of Technology, 1999.

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Work in Progress - the Writing of Short Changed is the account of the script writing process I developed and followed in the writing of the first draft of the Low Budget feature film, Short Changed. It is a process that was developed by a combination of guidance, mentorship, research, experiment and talking with and listening to other writers during the 1998 Pacific Film and Television Commission's New Writer's Workshop. Short Changed was written over a six month period. During the previous year I had intermittently researched and pondered on the knowledge of an event that had invaded my mind. In the process of writing Short Changed, I have learnt much about the craft of screen writing and I have developed an approach which I intend to use in the writing of future screenplays. There are many ways to write a screenplay. My goal as a writer was to find the way that worked for me; to find the process that created a screenplay that embodied the hallmarks of both creativity and craft. As an accomplished writer of expository prose, I was searching for the key that would unlock the door to the world of writing creative fiction. This document is a reflective account of my creative writing process. It includes the exploration and actualization of the complex and intricate workings of the mind.

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Ritchie, Brendan. « CooperStreet' (original screenplay) ; and, Into the foreground : an examination of setting in the screenplay ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.

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This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.

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Preston, Barry A. (Barry Alan). « Myths and Movies : a Mythographical Methodology of Motion Picture Analysis ». Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279362/.

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Over the past decade, cinema studies scholars have begun to recognize the value of mythographical methodologies for motion picture analysis; however, most of the scholarly research in this field has focused either on mythic archetypal images or on monomythic narrative structure, rather than combining the two approaches into a unified theory. This essay addresses the problem by proposing a mythographical methodology of motion picture analysis based on Carl Jung's theory of archetypal images and Joseph Campbell's theories concerning the monomythic structure of heroic narratives. Combining the two approaches of myth interpretation results in a more comprehensive methodology for interpreting the mythic elements of motion pictures. This essay illustrates the application of this methodology through a detailed analysis of Terry Gilliam's film, The Fisher King.

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Vilavella, Hélène. « Le cinéma dégénéré : Max Ophuls 1950-1957 / ». Thesis, Connect to this title online ; UW restricted, 1996. http://hdl.handle.net/1773/8281.

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Zagala, Anna. « Three point turn : the screenplay Three point turn and the critical paper "Figuring displacement" / ». [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19346.pdf.

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Pouliot, Carolle. « Le scénario : cinéma ou littérature?, suivi de Malebouge ». Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63846.

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周宇. « 崔扬的时代 ». HKBU Institutional Repository, 2008. https://repository.hkbu.edu.hk/etd_ra/900.

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曾嘉晴. « Ex files ». HKBU Institutional Repository, 2008. https://repository.hkbu.edu.hk/etd_ra/901.

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Natalenko, Rie. « Exegesis to support Heloise ». Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060807.152947/index.html.

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Meurice, Francine C. R. S. G. « Le texte du scénario filmique ». Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212121.

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Human, Jacobus Francois. « 'n Kontrolelys vir die skryf en evalueer van dramadraaiboeke ». Thesis, Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11052008-105503.

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Lyon, Alicia B. « The Offering : writing a historical screenplay / ». View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/31115633.

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Shepherd, Barrett James. « 'Party Season : A Screenplay-Based Inquiry into Filming and Judgment, with Accompanying Essay' ». The University of Waikato, 2007. http://hdl.handle.net/10289/2430.

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Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex.

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Cheng, Shing-yip, et 鄭成業. « A contrastive investigation of the use of interjections by male and female speakers in Cantonese and English play, film and televisionscripts ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26760009.

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Nowak, Tom. « Maverick of the Mounties ». Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/127.

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Laing, Chason Alexander. « Awakening ». Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001--1213.

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Thesis (Th. M.)--Dallas Theological Seminary, 2008.
"While some of the characters from this screenplay are based upon the life and times of Charles G. Finney; this is a fictional story." Includes bibliographical references (leaves [111-119]).

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Santos, Sillas Carlos dos. « O processo criativo para roteirização nas mídias digitais : os casos de Anymalu e Agência Transmídia / ». Bauru, 2019. http://hdl.handle.net/11449/183165.

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Orientador: Antonio Francisco Magnoni
Banca: Marcos Américo
Banca: Glaucia Eneida Davino
Resumo: Discute-se a influência do advento das mídias digitais no processo de criação de roteiros para produções audiovisuais ficcionais brasileiras. Contextualiza-se a relação entre tecnologias e narrativas e também da produção de roteiros audiovisuais. Em seguida, discute-se esta influência a partir de um estudo de caso múltiplo, acompanhado de entrevistas em profundidade com criadores de produções brasileiras para mídias digitais
Abstracts: This discusses the influence of digital media in the process of creating Brazilian fictional screenplays. It adresses the relationship between technologies, narratives, and screenplay production. Then, this subject is approached from a multi-case study and in-depth interview with creators of Brazilian productions
Mestre

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Bather, Neil. « "There is evil there that does not sleep-" : the construction of evil in American popular cinema from 1989 to 2002 / ». Connect to this title online, 2006. http://adt.waikato.ac.nz/public/adt-uow20070125.105814/.

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Greene, Jason. « New planet ». Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/278.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Liberal Studies

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Hong, Ki Myung. « Exegesis and screenplay for a film entitled : White Magnolia ». Click here to access this resource online, 2009. http://hdl.handle.net/10292/790.

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Most new migrants choose New Zealand as their second home country because New Zealand provides peaceful, safe and relaxed life style and also quality education compared to their homelands. However, for most migrants, settling down in New Zealand is one of the most dynamic and complex processes in their lives. Many migrants are struggling to adjust to New Zealand because the expression of cultural values is different in New Zealand than in their cultures. As migrants adjust to the new culture, their traditional cultural values are increasingly challenged by New Zealand cultural values leading to some degree of personal change. As a result, most immigrants encounter many unfamiliar cultural values in the initial stage of immigration to a New Zealand culture. This story is about the impact of culture-shock on an ordinary Korean migrant family and their struggle adjusting in a new society.

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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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Beaulieu, Renée. « Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.

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Kloss, Michael P. « Civil uprising ». Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/68.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Liberal Arts

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Blatman, Andrew. « The Balloon Shipment ». Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/740.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
B.F.A
Bachelors
Arts and Sciences
Film

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Douglas, John Anthony Art College of Fine Arts UNSW. « Aberations of self : manifestations in cinema histories ». Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.

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The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the directors intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the films meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.

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Enders, Mark Enders Mark. « No laughing matter an exploration of the role of the protagonist in Australian feature films classified as social comedies / ». Connect to this title online, 2004. http://adt.library.qut.edu.au/adt-qut/public/adt-QUT20050224.101747/.

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Santos, Fernanda Bornancin. « Deslocamentos tecnológicos e artísticos na prática dos microrroteiros da cidade ». Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2032.

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CAPES
Esta pesquisa propõe uma reflexão sobre como a dimensão tecnológica na prática dos Microrroteiros da Cidade se constitui como fator fundamental de seus processos de co-construção e mediação de circulações, dinâmicas e possibilidades de desdobramento. Criado em 2009 pela artista e roteirista paulistana Laura Guimarães, o projeto consiste em pequenas intenções de roteiro que convidam à visualização de histórias e situações vivenciadas por pessoas que transitam e/ou habitam a cidade de São Paulo. A linguagem utilizada nos textos dos microrroteiros é, ao mesmo tempo, uma relativização do roteiro de cinema e do código técnico de escritura do Twitter – uma plataforma de microblogging que prioriza o compartilhamento por meio de mensagens curtas de até 140 caracteres. Por meio de levantamento fotográfico, entrevista e coleta de dados, realizamos um mapeamento dos trânsitos dessas dinâmicas e, posteriormente, desenvolvemos uma análise das opções tipográficas, dos variados suportes, composições e das conexões entre diferentes espaços geográficos identificados. A fundamentação da pesquisa é realizada a partir da Teoria Crítica da Tecnologia de Andrew Feenberg e da leitura do autor sobre as considerações de Herbert Marcuse em relação à tecnologia e a arte. Refletimos também a respeito de deslocamentos de processos artísticos e comunicacionais desencadeados a partir da década de 1960 por um viés teórico latino-americano, sustentado por Néstor García-Canclini e Jesús Martín-Barbero, no intuito de analisarmos como a prática dos Microrroteiros da Cidade e suas dimensões técnico-estéticas se constituem nas dinâmicas das redes sociais e dos códigos urbanos em que se localiza. Desse modo, compreendemos as hibridações de linguagens expressas nessa prática artística como deslocamentos que ocorrem não de modo linear, mas de maneira cruzada e simultânea, borrando fronteiras de autoria e de fruição passiva, possibilitando outras construções de visualidades, coletivos e randômicos, mediando processos de ressignificação e reapropriação da cidade.
This research proposes a reflection about how the technological dimension in the practice of Microrroteiros da Cidade constitutes a fundamental factor of its co-construction and mediation processes of circulation, dynamics and deployment possibilities. Microrroteiros’s project was created in 2009 by the artist and screenwriter Laura Guimarães. Its approach involves small script intentions that invites São Paulo’s population to imagine and visualize scenes that happen in the city. The language used in microrroteiros texts is, at the same time, a relativization of screenplay and Twitter’s technical code – a microblogging plataform that priorizes the share of 140 character messages. Through photographic survey, interview and collection of data, we made a transit mapping of this dynamics and, after that, we developed an analysis of the typographic options, the various media, compositions and connections between different geographic areas identified. The theoretical foundation of this research is based on Andrew Feenberg’s Critical Theory of Technology, and on considerations that this author does about Herbert Marcuse’s theorical position on technology and art. Supported by Néstor García-Canclini and Jesús Martín-Barbero, we observe some shifts of artistic and communication processes triggered from the 1960s by a Latin American theoretical bias, in order to analyze how the practice of Microrroteiros da Cidade and their technical and aesthetic dimensions are constitutive in the dynamics of social media and urban codes in which it is located. Thus, we understand the hybridizations of this artistic practice as displacements that occur in a nonlinear way, but crossed and simultaneous, blurring boundaries of autorship and enabling other visual, collective and random constructions, mediating processes of reinterpretation and reappropriation of the city.

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Scrivin, Nicholas. « 'The Bobby Calf' - non linear and non classical narrative structures in the cinema of unease ». Click here to access this resource online, 2008. http://hdl.handle.net/10292/688.

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This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

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38

Fawns, Kathleen Mary. « Mater Hill : a screenplay ». Thesis, Queensland University of Technology, 1999.

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Mater Hill is loosely based on a true story. Liz has always craved and been denied her mother's love. After several years of trauma caused by losing her mother in a boarding house fire, she discovers that arson was involved and investigates, seeking justice. When she mediates with her mother's killer, she effects an emotional substitution. They fall in love and she persuades him to help her convict the main culprit. Even before the trial fails, she begins to reject him, psychologically completing the process of her own separation and individuation. Once Liz has this stronger sense of self, she can experience real compassion for the arsonist.

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Rezende, Marília Abrão. « O mistério no cinema : questões de gênero, hibridação e escrita de roteiros ». Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21339.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research regards the mystery on cinema, noting and questioning its typological statute; pointing out its relationship with the following typologies: whodunit, noir, and suspense thriller; and observing the building up of mystery on screenwriting. More specifically, we pose the question: which elements, noticeable since the script, contribute to the understanding of these films as mystery films? Therefore, our corpus comprises three screenplays: Rear Window (1953), Chinatown (1973) and Memento (1999). The screenplay’s analysis is supported somewhat by the work of Jule Selbo –– researcher and screenwriter who studies genre as a tool for writing feature-films ––, and also looks for noticing (A) which situations in these scripts alludes to the mystery universe and the genres related to it; (B) which are the emotional effects provoked on the spectator by the use of genres (C) how could the genres that crosses a script be related to the film’s relevance on its time? The concept of genre adopted comes mostly from Rick Altman, who understands the generic kind in historical perspective instead of seeing it as a fixed category. Altman’s semantic-syntactic approach makes possible the observation of elements that contribute to the analysis of the screenplays mentioned above, summing up to Selbo’s approach. The bibliography also contains names as Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale –– authors that explore the genres in various directions. Beyond them, we found help on a diverse range of authors and researchers, who enriched the discussion. We believe that the relevance of this research is related to the few numbers of works in Brazil regarding the mystery’s statute, as well as to the scarce academic studies related to the practice of screenwriting
Esta pesquisa volta-se para o mistério no cinema, notando e questionando seu caráter tipológico; assinalando sua imbricação com as tipologias do whodunit, do noir e do thriller de suspense; e observando a construção do mistério na etapa de roteirização. Mais especificamente, pergunta-se: quais elementos, presentes desde a etapa do roteiro, contribuem para a apreensão desses filmes enquanto filmes de mistério? Para tanto temos um corpus composto por três roteiros fílmicos: Rear Window (Janela Indiscreta, 1953), Chinatown (Chinatown, 1973) e Memento (Amnésia, 1999). A análise dos roteiros apontados se fundamenta no trabalho de Jule Selbo –– pesquisadora e roteirista que estuda o gênero enquanto ferramenta para a escrita de roteiros longa-metragem –– e busca observar (A) quais situações nesses roteiros remetem, de forma mais imediata, ao universo do mistério e dos gêneros a ele relacionados; (B) quais as relações afetivas que são despertadas no espectador a partir dos gêneros; (C) de que forma os gêneros que perpassam tais roteiros relacionam-se à pertinência dos respectivos filmes na sua contemporaneidade. O conceito de gênero aqui adotado é o de Rick Altman, que entende as categorias genéricas em plano histórico e não como formas imutáveis. A abordagem semântico-sintática do autor possibilita o apontamento de aspectos que contribuem para a observação dos roteiros em questão, complementando a abordagem de Selbo. Os referenciais teóricos da pesquisa também envolvem outros estudiosos como Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale — autores que trabalham o gênero cinematográfico em suas diferentes dimensões. Além disso, encontramos respaldo em importantes nomes da história do cinema. Acreditamos que a relevância da pesquisa liga-se à escassez, na universidade brasileira, de trabalhos relacionados ao estatuto do mistério, bem como à raridade de estudos teóricos que se relacionem à prática de roteirização

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Stansell, Thomas Micah. « Between You and Me ». Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/34.

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In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.

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Eckardt, Michael. « The development of film criticism in Cape Town's daily press 1928-1930 : an explorative investigation into the Cape Times and Die Burger ». Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53767.

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Thesis (MPhil)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.

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Gérard, Fabien. « La certitude et de doute : recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci ». Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.

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Schmid, Birgit. « Die literarische Identität des Drehbuchs : untersucht am Fallbeispiel "Agnes" von Peter Stamm / ». Bern [u.a.] : Lang, 2004. http://www.loc.gov/catdir/toc/fy0710/2007398475.html.

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Kagan, Michal Lali. « Wonderer : the life of Bruce Chatwin ». Thesis, Queensland University of Technology, 2002.

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Wonderer is a screenplay about the life of writer/traveler Bruce Chatwin. The screenplay examines not only Chatwin's travels and writing, but also the landscape which he never fully explored: his inner-world. This reflective analysis will focus on the relationship between Bruce Chatwin's writing - especially in The Songlines- and the ways in which the book's subject matter and style influenced the choices in content and form which I made in writing Wonderer.

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Peeler, Scott Edward. « The dynamics of proximity : Hitchcock's cinema of claustrophobia ». Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.

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The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.

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MacKenzie, Elizabeth. « Sacrificial versions / ». 2007. 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:MR29581.

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Thesis (M.F.A.)--York University, 2007. Graduate Programme in Fine Arts.
Includes: We'll always have Paris : a contextual essay on Sacrificial versions. Typescript. Includes bibliographical references. Includes filmography. 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:MR29581

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Cousins, Robert James. « Child of the American night : a screenplay / ». 2004. http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MR00975.

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Thesis (M.F.A.)--York University, 2004. Graduate Programme in Film and Video.
Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MR00975

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Bell, Lindsay Dale-Ann McGovern Jimmy. « Priest, from screen to stage : a dramaturgical transposition of Jimmy McGovern's screenplay / ». 1997. http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp05/mq21125.pdf.

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Thesis (M.A.)--University of Alberta, 1997.
Submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Master of Arts, Department of Drama. Also available online.

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Jovanovic, Nenad. « The part played by labour in transition from ape to man ». 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.

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Thesis (M.F.A.)--York University, 2003. Graduate Programme in Film and Video.
Typescript. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ82935.

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Kalnay, Sydney. « Catfight / ». 2006. 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:MR29572.

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Thesis (M.F.A.)--York University, 2006. Graduate Programme in Film.
Typescript. Includes bibliographical references (leaves 124-128). Filmography: p. 129-131. 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:MR29572

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Thèses sur le sujet « Swiss Motion picture plays »

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