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1
Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /". Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
Testo completo
2
Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
Testo completoAbstract (sommario):
This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
3
Cork, Kevin James, of Western Sydney Nepean University e Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales". THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.
Testo completoAbstract (sommario):
Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areasMaster of Arts (Hons)
4
Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
Testo completoAbstract (sommario):
Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film.
The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema.
The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity.
Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
5
Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /". [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.
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Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /". Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.
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7
Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia". University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
Testo completoAbstract (sommario):
Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
8
Haywood, Keene McDonald. "Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.
Testo completoAbstract (sommario):
Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /". online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.
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10
Chan, Shuen-yan. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21241065.
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Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /". Connect to this title online, 2004. http://hdl.handle.net/2440/37939.
Testo completoAbstract (sommario):
The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).Thesis (Ph.D.)--School of Humanities, 2004.
12
Weightman, Elise. "The mirror has many faces : an exploration of women's aesthetics in contemporary mainstream Australia". Thesis, Queensland University of Technology, 1999.
Cerca il testo completoAbstract (sommario):
This thesis investigates the concept of "women's aesthetics", as distinct from "feminine" or "feminist" aesthetics, asserting that an original and liberated women's film practice and spectatorship may be realised, in the late 1990s, by reinterpreting women's aesthetics as diverse social and artistic processes. Aesthetic concepts such as pleasure, value, art and sensory experience are also
tested in this study to establish their relevance to feminist discourses on film, the wider culture and society. The study also argues that the aesthetics of Australian women filmmakers working in mainstream cinema may be
characterised by certain social and artistic processes. Further, it is suggested that these women achieve a more liberated and empowered artistic practice through their distinctive and personal explorations of particular aesthetic processes. Through case studies of films by Gillian Armstrong, Jane Campion, Samantha Lang and Rachel Perkins, certain characteristics of women's aesthetics are
identified, and their power and relevance for Australian women filmmakers are evaluated. While focusing its investigation on the concept of "women's aesthetics", this
study also interrogates recent and seminal feminist film theory as well as the historical development of Australian national cinema, establishing a context and justification for the exploration of women's aesthetics. The revised, inclusive concept of women's aesthetics is then applied to a
practical project, in which my own artistic processes are explored through the production of three short films. This practical component is reported and critiqued to establish the relevance of the concept of women's aesthetics to my
own film practice. Finally, this thesis concludes that the concept and practice of women's aesthetics as a negotiated process can be used to promote and develop a more relevant, political and productive relationship between women, mainstream cinema and the wider culture and society.
13
Umphrey, Olivia. "From screen to page : Japanese film as a historical document, 1931-1959 /". [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.
Testo completo
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Inocencio, Jessica Lynn. "The hybridization of African identities in African film". Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.
Testo completoAbstract (sommario):
This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.
15
Beeton, Sue 1956. "Film-induced tourism impacts and consequences". Monash University, National Centre for Australian Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7570.
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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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Coe, Jason George. "Left behind by history: complicating narrative, modernity in the mundane, and reading history through womenin "feeling of life films"". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539533.
Testo completoAbstract (sommario):
This dissertation scrutinizes a corpus of films considered to be the stylistic and thematic descendants of Yasujiro Ozu, which I call “feeling of life films.” Focusing upon common themes such as female narrative and the portrayals of the quotidian, this dissertation identifies various methods used in specific films of Ozu, Hou Hsiao Hsien, and Tran Anh Hung that complicate narrative meaning and engage in the discourse of national modernity and history. The female protagonists of these films can be considered “left behind” by the narrative progression of history, serving an allegorical function that critiques standard notions of time and official history. The basis for understanding this phenomenon will be scholarly discourse primarily concerning Ozu’s “Noriko Trilogy,” which marks the transitional period of post-war Japan through the narrative of a woman’s path to marriage. This dissertation seeks to complicate the discourse of reading women in these films by introducing different methodologies of formalist analysis, cultural analysis, theoretic discourse, historiography, and phenomenology. In doing so, this dissertation demonstrates the cinematic importance of these films through their unique formal characteristics and their cultural and historical meanings.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Võ, Ch'o'ng-Đài Hồng. "An assemblage of fragments history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture /". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386844.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed February 11, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 155-168).
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Yalvac, Ahsen. "A cultural critique of Turkish cinema in relation to "Arabesk"". Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23272909.
Testo completo
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Meurer, Hans Joachim. "The split screen : cinema and national identity in a divided Germany (1979-89)". Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/26674.
Testo completoAbstract (sommario):
The generic term national cinema implies that, viewed in their totality, the films of a country promote notions of collective and cultural identity. Most studies of post-war German cinema, however, focus exclusively on the former Federal Republic of Germany and concentrate on issues of authorship and the influence of literature on film rather than examining East and West German films in relation to the antagonistically opposed social systems in which they were produced. Thus, under the title The split screen: Cinema and national identity in a divided Germany (1979-89), a comparative analysis is undertaken of the political, economic and ideological determinants shaping East and West German feature films during the so-called established phase of the two states between 1979 and 1989. The overall framework of the study is a discussion of German film culture within the climate of post-war ideological conflict, covering three main objectives. The first part of the thesis provides a theoretical framework for comparing the two German film cultures on an abstract ideological level. The second part of the project analyses the extent to which, during the eighties, the political systems of the FRG and GDR shaped production, distribution and exhibition in order to establish a particular type of film culture. The breadth of reference thus provided is combined with greater analytic depth in the third part of the project, where the goal is to investigate in greater detail how political, economic and cultural debates surrounding the question of an East and West German identity were translated into filmic discourse. Based on such a relational perspective, the thesis comes to three major conclusions. First of all, there was a greater interaction or confrontation between the two German film cultures with regard to their dissemination of a distinct national identity than it has commonly been assumed. Secondly, there were recurring cycles of liberalism and orthodoxy in the film policies of the two states - which can be linked to varying degrees of internal stability and external confrontation. And thirdly, the 'officially approved' and promoted films constituted an artificially created high culture mainly produced for an international market and hardly ever finding wide-spread public support among the German audience. Thus, an all-German film culture between 1979 and 1989 can be perceived, metaphorically, as a 'split screen': an imaginary space which projects, through its polarised division, the search of the divided German nation for a specific national-historical identity during a period which later proved to be the concluding phase of the Cold War.
21
Morrey, Douglas. "Jean-Luc Godard and the other history of cinema". Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1303/.
Testo completoAbstract (sommario):
Jean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras. After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001).
22
Wolpert, Daniel Jonas. "Temporality, identity and history in German cinema, 1946-1949". Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283967.
Testo completo
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Çaglayan, Orhan Emre. "Screening boredom : the history and aesthetics of slow cinema". Thesis, University of Kent, 2014. https://kar.kent.ac.uk/43155/.
Testo completoAbstract (sommario):
This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. My original contribution to knowledge is, therefore, a comprehensive account of a global current of cultural practice that offers a radical and at times paradoxical reconsideration of our emotional attachment and intellectual engagement with moving images. The introduction chapter begins with a discussion of the Slow Cinema debate and then establishes the aims of the thesis, its theoretical framework and elaborates on the adopted methodologies, namely formal analysis and aesthetic historiography. Chapter 2 examines Béla Tarr in light of the evolution of the long take and attributes Tarr’s use of this aesthetic device as a nostalgic revision of modernist art cinema. Chapter 3 explores the films of Tsai Ming-liang, which embrace incongruous aesthetic features, envision an absurdist view of life, create humour through duration and are situated within the minimalist trends of the international film festival circuit. Chapter 4 focuses on Nuri Bilge Ceylan, whose films emerge from the aftermath of the collapse of a domestic film industry and intervene into its historical heritage by adopting fundamental features of boredom as well as transforming its idleness into an aesthetically rewarding experience. The conclusion chapter incorporates the case studies by stressing the role of Slow Cinema within the complex negotiations taking place between indigenous filmmaking practices and the demands of global art cinema audiences as well as the circulation of art films through networks of film festivals and their respective funding bodies.
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Henderson, Stuart. "The history and form of the Hollywood sequel, 1911-2010". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/47714/.
Testo completoAbstract (sommario):
Whilst the prominence of the sequel in contemporary American cinema is inarguable, little attempt has been made to identify its formal characteristics or to provide a comprehensive account of its historical development over the past century. Offering a corrective to this oversight, this thesis addresses three key research questions: what are the formal characteristics of the sequel in all its variations in American cinema?; to what extent have these formal characteristics changed over time?; and how are these changes related to the shifts in the economic and industrial structures of the American film industry? Drawing on a wide range of sources, the first four chapters trace the historical development of the sequel, from silent era features such as The Son of Sheik (1926) through to contemporary franchises. Building upon this historical context, the second half of the thesis is dedicated to an examination of the Hollywood sequel’s formal characteristics. Initially concerned with the manner in which the sequel form differs from and challenges the notions of closure which inform the Classical Hollywood paradigm, these chapters progress to a consideration of the dynamic between genre, stars, character and narrative as it plays out in sequels ranging from Bride Of Frankenstein (1935) to Rooster Cogburn (1975) and Rambo (2008). In placing equal emphasis on history and aesthetics, the thesis ultimately aims to both develop a typology of the sequel form, and to build a more complete picture of the many ways in which Hollywood has sought to repeat its previous successes, the historically specific conditions which have governed these repetitions, and the compositional norms which have resulted.
25
Yang, Jing, e 杨静. "The construction of the Chinese woman in 1990s American cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.
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Chan, Shuen-yan, e 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.
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Sungsri, Patsorn. "Thai cinema as national cinema: an evaluative history". Thesis, Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/354/.
Testo completoAbstract (sommario):
This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
28
Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /". Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.
Testo completoAbstract (sommario):
This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
29
Tam, Yee Lok. "A critical study on wenyi and wenyi film in republican China". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/488.
Testo completoAbstract (sommario):
Wenyi film has long been a research focus of Chinese film studies since the 1980s. An abundance of scholars has been writing on the topic of wenyi film, defining its generic nature as literature and art film or film adaptation of great literature, or understanding it in relation to themes of love and human relationships. Many scholars have explored the role of wenyi films in post-war Hong Kong and Taiwan cinemas. Yet, in terms of Republican Chinese cinema, only brief accounts on some wenyi directors or works can be found. This dissertation aims to answer the question of what is wenyi film? by studying materials from the 1910s to the 1940s. Wenyi film as a discursive notion was never static in that period of time and the notion intersects with different discourses and practices. By investigating the interaction between the notion and those discourses and practices, this dissertation aims to present a taxonomy of wenyi film as grouped under the themes of romance, family, national character, heroism and the people.
30
Joo, Woojeong. "The flavour of tofu : Ozu, history and the representation of the everyday". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49454/.
Testo completoAbstract (sommario):
This thesis deals with the issue of the everyday represented in the films of Japanese film director Ozu Yasujiro (1903-1963) from a socio-historical perspective. Recognised as one of the masters of Japanese cinema, Ozu is well-known for his depiction of the everyday life of Japanese people consistently throughout his long career. Ozu’s cinema, however, has been mainly studied from a formal point of view that pays attention to his particular cinematic styles. This thesis aims to revise this tendency by adopting the socio-historical methodology that actively draws upon the knowledge of modern Japanese history, and combining it with the analyses of Ozu’s films. Following a chronological order of the prewar, war and the postwar in Japanese history as well as in Ozu’s career, this thesis is structured to investigate two main issues – the modern and the postwar – at both textual and contextual levels. My discussion thus includes historical backgrounds of how these two issues defined Japanese society, their influences on Japanese film industry (especially with regard to Shochiku, where Ozu worked), and their interaction with Ozu’s films as appearing in the form of everyday lives of different kinds of subjects. The result suggests a much more multifaceted shape of Ozu’s oeuvre. Each of the different subjects I analyse exhibits contrasting aspects of the everyday in terms of both spatiality and temporality, which are closely related to the changing history of modern Japan. I also argue that Ozu consistently provided his representation of the everyday a critical dimension of Japanese modernity, which I conceptualise with the notion of ‘deviation’. This thesis thus concludes that Ozu, as a filmmaker of everyday life, was always conscious of his contemporary society, and in this sense, the everyday in his films is more dynamic than empty.
31
Akhter, Fahmida. "Fragmented memory, incomplete history : women and nation in war films of Bangladesh". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20049/.
Testo completoAbstract (sommario):
The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politics and aesthetics of war films, contextualizing them as they intersect with the socio-historical contexts. Employing textual and visual analyses with using solid theoretical scholarship, both from the East and the West, concerning cinematic representation of the past, women and nation, I argue that the different power structures of men and women constructed in war films are in accordance with the dominant ideology of the society. The Liberation War was a people’s war, involving manifold participation of both men and women from different classes, religions and localities. Despite this reality, cinematic representations of the War have always portrayed the combat experience as an exclusively masculine enterprise. By contrast, women have been constructed in the films as passive victims or in subordinate roles. Woman is valorized in one instance, in her idealized portrayal as the ‘mother-nation’; this iconic projection of woman, however, highlights men’s heroic defence of their motherland. On the other hand, female rape victims in the war are framed as shame or dishonour for the nation and are offered a customary exclusion by suicide, death or occasionally by some other means at the end of the war films. I have argued that war films exclude the raped women from the narratives in order to maintain a perceived purity of the nationalist discourse, following the national politics, culture and historiography of Bangladesh.
32
Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.
Testo completoAbstract (sommario):
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).
33
Wood, Mark. "An evaluation of the National Cinema of Wales and whether this cinema constructs or represents a national identity". Thesis, University of South Wales, 2007. https://pure.southwales.ac.uk/en/studentthesis/an-evaluation-of-the-national-cinema-of-wales-and-whether-this-cinema-constructs-or-represents-a-national-identity(a96741dc-38a9-4e46-bd51-0c980b7aa1eb).html.
Testo completoAbstract (sommario):
The National cinema of Wales is a contested site of representation and identity, which has struggled to overcome systemic and historic obstacles to scholarship, as well as to funding, production, exhibition and distribution of its products, related organizations, agents and services. This study considers Welsh filmic product (produced from 1963-2007), produced by independent producers for prominent broadcasting entities, including Channel Four Films, BBC Wales, S4C, or HTV/ITV Wales; a review of relevant literature regarding Welsh national cinema by Berry, Blandford, Ffrancon and others; the historical context of the Welsh film industry, was followed by an assignment of new aesthetic and industrial categories, including Welsh Coming-of-age genre films, Welsh Magical Realism, Welsh Grotesque cinema, the Welsh Chapel 'Gothic' in cinema, 'Outsider' fllmmakers in Wales, and Welsh fllmmakers in exile; the use of Welsh myths and legends in films, and how this contributes to a national identity. Consequently this study locates Welsh national cinema in a critical milieu inflected by feminist, Queer, post-colonial and national cinema analysis approaches.
34
Lam, Suk-yin, e 林淑燕. "The construct of masculinity and femininity in John Woo and Stanley Kwan's films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951144.
Testo completo
35
Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication". University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
Testo completoAbstract (sommario):
This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
36
Reid, Mary Anne. "Success factors in Australian cinema in the 1990s". Thesis, Queensland University of Technology, 2000.
Cerca il testo completoAbstract (sommario):
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.
37
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/.
Testo completoAbstract (sommario):
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).
38
Burton, James Amos. "Film, history and cultural memory : cinematic representations of Vietnam-era America during the culture wars, 1987-1995". Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10493/.
Testo completoAbstract (sommario):
My thesis is intended as an intellectual opportunity to take what, I argue, are the "dead ends" of work on the history film in a new direction. I examine cinematic representations of the Vietnam War-era America (1964-1974) produced during the "hot" culture wars (1987-1995). I argue that disagreements among historians and commentators concerning the (mis)representation of history on screen are stymied by either an over-emphasis on factual infidelity, or by dismissal of such concerns as irrelevant. In contradistinction to such approaches, I analyse this group of films in the context of a fluid and negotiated cultural memory. I argue that the consumption of popular films becomes part of a vast intertextual mosaic of remembering and forgetting that is constantly redefining, and reimagining, the past. Representations of history in popular film affect the industrial construction of cultural memory, but Hollywood's intertextual relay of promotion and accompanying wider media discourses also contributes to a climate in which film impacts upon collective memory. I analyse the films firmly within the discursive moment of their production (the culture wars), the circulating promotional discourses that accompany them, and the always already circulating notions of their subjects. The introduction outlines my methodological approach and provides an overview of the relationship between the twinned discursive moments. Subsequent chapters focus on representations of returning veterans; representations of the counterculture and the anti-war protest movement; and the subjects foregrounded in the biopics of the period. The fourth chapter examines Forrest Gump as a meta-sixties film and as the fulcrum of my thesis. The final chapter posits that an uplifting version of the sixties has begun to dominate as the most successful type of production in the post-Gump marketplace.
39
Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
Testo completoAbstract (sommario):
Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
40
Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
Testo completoAbstract (sommario):
This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
41
Murphree, Hyon Joo Yoo. "Toward an "accented" critique of culture theorizing postcolonial East Asia /". Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1342729001&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.
Testo completo
42
Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society". Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.
Testo completoAbstract (sommario):
This thesis uses a cultural studies- based social- cultural- historical methodology to
compare changes in depictions of ethnicity in selected Australian feature films
produced from 1930 to 1995 to changes in Australian immigration policy over the
same period. The aim is to identify the relationship between feature film
depictions and the societies which produced them. The study will show that
depictions of ethnicity in Australian feature films have progressed through three
phases in line with the changes in Australian immigration policy from 'white
Australia' (1930-1946) to assimilation (194 7 -1971) to multiculturalism (1972-
present) .
The study also proposes a model of 'cultural absorption' as better alternative than
'reflection' to explain the means by which social-cultural beliefs and values are
transferred from society to feature films. The results of this study confirm that
the myths and social cultural beliefs and values of a society can be identified by
analysing the cultural artefacts, such as feature films, produced by that society.
This means that it is possible to identify the myths, beliefs and values of past
moments in Australian social history by analysing feature films produced by that
society. Identifying changes in society and culture and the mechanisms which
brought them about provides a means of better understanding contemporary
society and culture and how future changes may affect social and cultural
evolution.
43
Knight, Claire Alice Jean. "Soviet cinema of the late Stalin era, 1945-53". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708213.
Testo completo
44
Triquell, Ximena. "Projecting history : a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy". Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/11710/.
Testo completoAbstract (sommario):
This thesis analyzes a series of films that, in different ways, seek to represent the last Argentine dictatorship. The possibility of interpreting the thematic and formal recurrences of the films as a defining characteristic of a specific genre is posed as a first hypothesis. The second hypothesis postulates the possibility of relating certain aesthetic and rhetorical changes of the series to certain socio-political processes. After presenting a general overview of some of the various forms in which the relationship between cinema and society has been theorized before, the work proposes the instance of enunciation as a principle of articulation between textual and social systems, analysing the subjects involved in each of these levels and the relationship that can be established between them. The apparatus of enunciation (between textual figures), which can be related to the reading contract (between social subjects) can also be associated with the notion of genre. In this context, the thesis explores the possibility of a redefinition of cinematographic genres from the perspective of the Semiotics of Passions. Having established in the previous chapters the theoretical and methodological basis, the second part of the work consists of the analysis of the enunciation in the films of the corpus, in order to establish the main characteristics of the reading contract proposed to the spectator. The analysis starts with the consideration of the genre known in television as "docudrama", paying particular attention to the relationship between what is filmed and the "real", that this genre seeks to establish. This is followed by the partial conclusions of the analysis of the totality of films included in the corpus. A first systematisation of the general characteristics of the films considered allows for a definition of a new genre which we termed "documelodrama".
45
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/.
Testo completoAbstract (sommario):
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.
46
Bangert, Axel. "Reviewing the German experience : the Third Reich in post-reunification cinema and television". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608915.
Testo completo
47
Tan, Jeffery. "The Shaw Brothers' exploitation of sex in Hong Kong films of the early 1970s". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609580.
Testo completo
48
Rydzewska, Joanna. "East meets West meets Auteur : transnational encounters with imagined identities in British and Polish cinema". Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678569.
Testo completo
49
Boden, Susan, e 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.
Testo completoAbstract (sommario):
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?
50
Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
Testo completo