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Data publikacji: 25 lipca 2024

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1

Foo, Tee-Tuan. "Managing the Content of Malaysian Television Drama: Producers, Gatekeepers and the Barisan Nasional Government". Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1102522280.

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2

Bain, Keith Norman. "Hyperartifical cinema and the art of cool". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.

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Thesis (PhD)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.

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3

Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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4

Becker, Teresa A. "The self-perceived leadership characteristics of female Producers /". Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.

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5

Passon, Shannon Reeves Jennifer. "Moving up or moving out new job demands, ability to cope and burnout among television news producers and executive producers /". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6536.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 20, 2009). Thesis advisor: Jennifer Reeves. Includes bibliographical references.

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6

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

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7

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

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8

Ott, Meredith C. "Child actor ethics : children in plays with adult themes /". Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9882.

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9

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

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10

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

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11

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

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12

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

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

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13

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

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14

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

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15

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

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16

D'Ermo, Delia. "George Luscombe : his life and art, 1926-1989". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69557.

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In 1959, George Luscombe, a Canadian-born actor and director, founded Toronto Workshop Productions, Toronto's first alternate theatre. For over a quarter-of-a-century, Luscombe pioneered the creation of a Canadian theatre of political and social concern and the development of plays through a collective process.
This study attempts to reconstruct the major events of Luscombe's personal and artistic life, and to assess his contribution to Canadian theatre through his work at Toronto Workshop Productions as revealed in company reports, contemporary records and the recollections of his friends and associates.

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17

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

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18

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

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19

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

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20

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

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

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21

Evans, Anne Megan. "The evolving role of the director in Xiqu innovation". Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=764745581&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233276975&clientId=23440.

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Ball, Robert Joseph. "Richard Foreman and Anne Bogart : a study in contemporary directing practices /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Krause, Shane Peter. "Not welcome : writing horror in Australia". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16449/1/Shane_Krause_-_Acolytes.pdf.

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"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.

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24

Krause, Shane Peter. "Not Welcome: Writing Horror in Australia". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16449/.

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"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.

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25

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

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26

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

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

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

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28

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

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29

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

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

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

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32

Chapman, Sharon Jeanette. "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films". CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1258.

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

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34

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

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35

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

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36

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

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37

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

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

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Drobnik-Rogers, Justyna. "Krzysztof Warlikowski's theatre and the possibility of encounter". Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/krzysztof-warlikowskis-theatre-and-the-possibility-of-encounter(1b01746f-bcc5-4e70-b4fc-5b5a7081a4a1).html.

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This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski’s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki’s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ‘encounter’ that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ‘here and now’.This thesis asks questions about the distinctive conditions that make possible the type of encounter that lies at the heart of Warlikowski’s oeuvre and distinguishes it from Polish repertory theatre. The theoretical framework of ‘intertheatricality’ facilitates identification of the matrix of elements that inform this encounter. These elements are constituted by: 1.The strategies that have led Warlikowski to become a successful director and enabled him to create a new way of theatre-making and communication with audience; 2. The complex processes of the creation of his ensemble of actors; 3. The family-like setting and the collaborative nature of rehearsals; 4. The status of actors who become the co-authors of performance and their idiosyncratic involvement in the creation of shows that cross the borders between work and life; and finally, 5. The role of the audience that becomes an integral element of the performance making process. Seeing Warlikowski’s work from the perspective of performance as event shows it not as a static and completed artefact, but as a fleeting, transient process that is open to changes and resonates with the outside world. Through its focus on creative processes, this approach sheds new light on the theatre of Warlikowski. It shows how he integrates the actors and audience into his performance making process, and also helps to demonstrate his impact on the status of audience within Polish mainstream theatre post-1989.

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

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

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

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

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

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

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

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

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

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

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Vachon, Daniel 1958. "Le réalisateur au réseau FM franc̜ais de Radio-Canada /". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61977.

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Moraitis, Catherine. "The art of David Lean : a textual analysis of audio-visual structure /". [Milton Keynes] : Authorhouse, 2004. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781420899504.

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Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers". Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.

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Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.

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