Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Film-form.
Rozprawy doktorskie na temat „Film-form”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Film-form”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Wallbaum, Christopher. "The analytical short film: Form – Functions – Excursus – Criteria". Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34615.
Pełny tekst źródłaStreszczenie:
This chapter presents the form of the Analytical Short Film (ASF), its functions for communication, education and research and criteria for its validity. Embedded is a fundamental reflection about the relations between something whole and its parts to give reasons for dealing with blurredness in both, practice in lessons and video practice.
2
Haw, Matthew James. "Boudica & field notes towards a dynamic film-poem form". Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/124994/.
Pełny tekst źródłaStreszczenie:
The thesis comprises an original, book-length sequence of poems, Boudica, and a film-poem of the same name. Boudica engages in a topographical mediation on East Anglia, specifically the landscapes of Norfolk and north Suffolk. The subject of the sequence is Boudica, a young woman trapped within a stifling suburban upbringing and her dead-end job at the pub in her village. Structured in four parts, the poem explores her adolescent ennui, her ambivalence towards place and her small acts of existential rebellion against this condition. The verse itself is constructed of images from cinema and after cinema, images bound to the physicality of cinema. Poet and narrator are allowed access to the viewfinder: lines, images, and stanzas attempt to frame themselves within the logic of cinematography, a logic which asks that the poet’s eye becomes the camera lens, exploiting cinema and ekphrasis by projecting meaning without making it explicit. The film is composed of images which have been suggested by the lyrics, the cinematic sequencing of these images has then dictated the order in which the lyrics appear in the collection. The thematic and structural links between the film and the sequence of poems are the subject of the supporting reflective essay. This paper explores my practice-led methodology and approach to the making of Boudica, offering key definitions with regards to ekphrasis and the hybrid film-poem form. It explores dynamic points of intersection between film and poetry in Boudica as well as case studies in recent writing and practice on ekphrasis, poetry and cinema.
3
Rai, Kimberley. "Don't hide the madness perception, bipolar and the film form". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30968.
Pełny tekst źródłaStreszczenie:
Human perception is a process that begins with sensory input that is organized and then interpreted. During this process there is a movement of information about an event in the real world, into information that represents that event in the mind. This movement of information in the form of perception is similar to the filming process; where the event, sensory input, organisation and interpretation is like the pro-filmic event (that which exists in the world before or regardless of whether it is filmed), the light entering the camera lens, and, the editing process and audience experience, respectively. When these systems are influenced at any stage of the process, there is an alteration in the resulting representation. The pro-filmic event can be influenced through the filmmaking techniques used to record it that may influence beliefs that concern the event. For example, the recording of films that concern mental illness need to be approached with caution because treatment of the pro-filmic event can either reinforce or challenge stereotypes about the mentally ill. Bipolar is a mental disorder of mood that is often represented with wild inaccuracy in films. The biographical drama, Shine (1996), for example, attempts to represent the life of David Helfgott, a musician who suffered a mental breakdown and spent subsequent years in mental asylums. He is portrayed as an imbecile, always mumbling indistinctly. In the film, the connection between psychopathology and creativity is supported, heavy- handedly. This demonstrates how the intervention (by the filmmaker and his filmmaking techniques) can transform meaning and influence viewer perception through the film medium. For the case-study documentary film, Don’t Hide the Madness (2017), I use recording and editing techniques to portray a personal account of bipolar in a way that challenges mainstream beliefs about the disorder. I argue that this application of the film medium has the capacity to confront stigma and change perceptions about mental illness.
4
Ljunggren, Rhonda L. "Camera lucida : the moving image as evocative document : film form, film meaning and the grammatology of archival selection". Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25714.
Pełny tekst źródłaStreszczenie:
This thesis examines the characteristics of moving image documents such as they pertain to the selection of films for archival preservation. It is advanced that both the physical nature of the film record and the nature of the evidence it presents are prime considerations in the development of archival selection criteria. Furthermore it is argued that the structure and content of film are interrelated factors which impact significantly upon the determination of archival value, and the suitability of the film record for permanent preservation. Finally, a major factor affecting selection involves accounting for the impact of film as a reflector and purveyor of popular culture. Given the powerful influence of film in moulding popular ideas, attitudes, and value systems, archival selection criteria must take into account film of all types if there is to be any future prospect of assessing the impact of film on society in a given period.
The sources used for this study include the writings of historians and archivists concerning film as historical evidence and the archival selection thereof, as well as traditional film literature. The study proceeds from a consideration of the technical and structural aspects of film to a content-oriented discussion involving the reflective and influential nature of the moving image document. Archival selection is considered in terms of its necessity and justifiability with regard to the nature of the film record, and alternative modes of selection are investigated.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
5
Rich, Philip. "The culture of cruising : Post-war images form the NMM'S film archive". Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.
Pełny tekst źródłaStreszczenie:
This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.
6
Savi, Melina Pereira. "Central Station and issues of identity in film form and critical debates". reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92355.
Pełny tekst źródłaStreszczenie:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009Made available in DSpace on 2012-10-24T08:06:42Z (GMT). No. of bitstreams: 1 276265.pdf: 2689065 bytes, checksum: d2efed7c2e55798081ab4b8c260a5a69 (MD5)
O presente trabalho trata de questões relacionadas à construção de uma identidade cultural brasileira no filme Central do Brasil, dirigido por Walter Salles, a partir da perspectiva fílmica e também relacionada aos debates críticos que o filme gerou em resenhas americanas e brasileiras. Argumenta-se que o filme é uma metáfora da busca por identidade, argumento usado pelo próprio diretor. Esta busca se dá no nível pessoal, no caso das personagens principais, Dora e Josué, e nacional, já que o filme encoraja a associação da jornada das personagens a uma busca pela identidade nacional brasileira. A pesquisa buscou encontrar os elementos fílmicos que remetem a essa hipótese de que o filme é uma metáfora da busca por identidade, bem como de que forma (e se) os debates críticos gerados a partir do filme identificaram essa questão da busca. Para teorias de identidade, autores como Stuart Hall, Zygmunt Bauman e Robert Stam foram usados. Para teoria fílmica foram usados trabalhos de David Bordwell e Marcel Martin. Para estudos em cinema brasileiro, leituras de trabalhos de Luiz Zanin Oricchio, Robert Stam e Sidney Ferreira Leite foram realizadas. A análise mostrou que o filme, de fato, traz elementos que podem ser relacionados à metáfora da busca por identidade.
This research addresses questions related to the construction of a Brazilian cultural identity in the film Central Station, directed by Walter Salles, from the perspective of film form, and concerning the critical debates prompted by the film in Brazilian and American reviews. The film is argued to be, by the director himself, a metaphor for the search for identity, both personal, in the case on the main characters, Dora and Josué, and national, since the film encourages the association of the characters' journey to a search for a Brazilian identity. What this research sought to find were the elements in film form that relate to this hypothesis of the film as a metaphor for the search of identity, and how and if the critical debates prompted by the film identified the issue of identity. For the issue of identity, critics such as Stuart Hall, Robert Stam, and Zygmunt Bauman were invoked. For Film Studies, theorists such as Bordwell and Marcel Martin were used. For readings in Brazilian Cinema, the works of Luiz Zanin Oricchio, Robert Stam and Sidney Ferreira Leite were used. The analysis showed that the film, indeed, brings elements that can be related to a metaphor for the search for identity.
7
Damm, Andreas. "Anonymitet och intensifierad kontinuitet : Klassisk stil och form i Hämnarens resa". Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4813.
Pełny tekst źródłaStreszczenie:
The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that Sympathy for Mr. Vengeance remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.
8
Perry, Colin, i mikewood@deakin edu au. "The narrativization of actuality: Convergence of form and genre in film and television". Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.092326.
Pełny tekst źródłaStreszczenie:
The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a line of flight or deterritorialization that enables the thesis to change in nature and connect with other multiplicities.This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries.
A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols theories of documentary representation of reality, Bordwells schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries.
The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as a rhizome with the world, is analyzed across a range of examples.
9
Li, Suk-fong, i 李淑芳. "The use of film subtitles in teaching English to the junior form students". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31945119.
Pełny tekst źródła
10
Yao, Bo. "N MULTILAYER THIN FILM REACTIONS TO FORM L10 FEPT AND EXCHANGE SPRING MAGNETS". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4024.
Pełny tekst źródłaStreszczenie:
FePt films with the L10 phase have potential applications for magnetic recording and permanent magnets due to its high magnetocrystalline anisotropy energy density. Heat treatment of n multilayer films is one approach to form the L10 FePt phase through a solid state reaction. This thesis has studied the diffusion and reaction of n multilayer films to form the L10 FePt phase and has used this understanding to construct exchange spring magnets. The process-structure-property relations of n multilayer films were systematically examined. The transmission electron microscopy (TEM) study of the annealed multilayers indicates that the Pt layer grows at the expense of Fe during annealing, forming a disordered fcc FePt phase by the interdiffusion of Fe into Pt. This thickening of the fcc Pt layer can be attributed to the higher solubilities of Fe into fcc Pt, as compared to the converse. For the range of film thickness studied, a continuous L10 FePt product layer that then thickens with further annealing is not found. Instead, the initial L10 FePt grains are distributed mainly on the grain boundaries within the fcc FePt layer and at the Fe/Pt interfaces and further transformation of the sample to the ordered L10 FePt phase proceeds coupled with the growth of the initial L10 FePt grains. A comprehensive study of annealed n films is provided concerning the phase fraction, grain size, nucleation/grain density, interdiffusivity, long-range order parameter, and texture, as well as magnetic properties. A method based on hollow cone dark field TEM is introduced to measure the volume fraction, grain size, and density of ordered L10 FePt phase grains in the annealed films, and low-angle X-ray diffraction is used to measure the effective Fe-Pt interdiffusivity. The process-structure-properties relations of two groups of samples with varying substrate temperature and periodicity are reported. The results demonstrate that the processing parameters (substrate temperature, periodicity) have a strong influence on the structure (effective interdiffusivity, L10 phase volume fraction, grain size, and density) and magnetic properties. The correlation of these parameters suggests that the annealed n multilayer films have limited nuclei, and the subsequent growth of L10 phase is very important to the extent of ordered phase formed. A correlation between the grain size of fcc FePt phase, grain size of the L10 FePt phase, the L10 FePt phase fraction, and magnetic properties strongly suggests that the phase transformation of fccL10 is highly dependent on the grain size of the parent fcc FePt phase. A selective phase growth model is proposed to explain the phenomena observed. An investigation of the influence of total film thickness on the phase formation of the L10 FePt phase in n multilayer films and a comparison of this to that of FePt co-deposited alloy films is also conducted. A general trend of greater L10 phase formation in thicker films was observed in both types of films. It was further found that the thickness dependence of the structure and of the magnetic properties in n multilayer films is much stronger than that in FePt alloy films. This is related to the greater chemical energy contained in n films than FePt alloy films, which is helpful for the L10 FePt phase growth. However, the initial nucleation temperature of n multilayers and co-deposited alloy films was found to be similar. An investigation of L10 FePt-based exchange spring magnets is presented based on our understanding of the L10 formation in n multilayer films. It is known that exchange coupling is an interfacial magnetic interaction and it was experimentally shown that this interaction is limited to within several nanometers of the interface. A higher degree of order of the hard phase is shown to increase the length scale slightly. Two approaches can be used to construct the magnets. For samples with composition close to stoichiometric L10 FePt, the achievement of higher energy product is limited by the average saturation magnetization, and therefore, a lower annealing temperature is beneficial to increase the energy product, allowing a larger fraction of disordered phase. For samples with higher Fe concentration, the (BH)max is limited by the low coercivity of annealed sample, and a higher annealing temperature is beneficial to increase the energy product.Ph.D.
Department of Mechanical, Materials and Aerospace Engineering
Engineering and Computer Science
Materials Science & Engr PhD
11
Flint, Rob. "Film, video, and digitality : an analysis of cultural form in time-based media". Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2021/.
Pełny tekst źródłaStreszczenie:
This thesis examines the material properties of time-based image media, in particular live video. The project is practice-based with a theoretical underpinning drawn from the debates on form and meaning associated with Walter Benjamin.
12
Li, Suk-fong. "The use of film subtitles in teaching English to the junior form students". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2116180X.
Pełny tekst źródła
13
Morrison, Benedict. "Complicating articulation in narrative film : tracing the relationship between inarticulate form and character". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4c58ecf8-e330-4206-82ea-62451b8d2e84.
Pełny tekst źródłaStreszczenie:
This thesis explores the relationship between film form and character expression, both of which are seen as articulated structures, that is utterances in which separable parts operate cooperatively to create meaning. The specific films examined present characters who struggle to express themselves. These inexpressive characters are combined in each case with a disrupted form which displays its own many-jointed structure. The thesis argues that the dynamic relationship between inarticulacies of character, narrative, and form generates an indeterminate dialectic. The unresolved relationship between parts and whole (reminiscent of a complex mosaic structure) complicates the process of reading for univocal meaning. The operation of this dual inarticulacy is discussed in Chapter One. Each subsequent chapter is devoted to a single film and a particular example of formal disjuncture: contrapuntal narrative levels, clashing styles, discontinuous editing, bricolage, the dislocation of genre signifiers from conventional meanings, and intermedia. The films discussed at length in connection with these theories are: 'Journal d'un curé de campagne' (1951); 'Germania anno zero' (1948); 'Belle de Jour' (1967); 'Distant Voices, Still Lives' (1988) and 'The Long Day Closes' (1992); 'Meek's Cutoff' (2010); 'The Pillow Book' (1996).
14
Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster". Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.
Pełny tekst źródłaStreszczenie:
Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.
15
Zhang, Chun. "Using cross-sectioned multilayer polymer film and surface modification to form chemically patterned substrates". Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1181251006/.
Pełny tekst źródła
16
Stephenson-Thompson, Jo. "Telling fashionable tales : the form and function of the non-fiction British fashion film". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24863.
Pełny tekst źródłaStreszczenie:
This thesis examines the promotion of the British fashion industry in the underexplored genre of non-fiction British fashion film. Whilst critical attention has been paid to the role of fashion within fiction film, and costume within historical drama, the significance of fashion in non-fiction, state-sponsored British film has passed largely without exploration. The threshold of fact and fiction is the site of investigation in this analysis of film and media materials, that draw on fairy tale narratives of transformation to produce fashion as the 'integration of the two worlds of reality and imagination' (Bettelheim, 1975). The main focus of my analysis is a body of texts ranging from the forties to the present day. The corpus of study consists of films produced by British Pathé and the Central Office of Information (COI), film, televisual, and DVD outputs of royal weddings, and the BBC's live television broadcast of the 2012 Olympic Games. Fashion has a reputation for facilitating change and performing makeovers, and the texts studied here present three levels of transformation, powered by the magical fiction of fairy tales, the transformative potential of capitalism, and the renewing capabilities of the fashion industry. These texts demonstrate the way fashion stories are used to negotiate key historical junctures in British identity, finding in the structure of the fairy tale a way to articulate an economy of renewal that can be harnessed to a national, ideological state agenda aimed at women. This thesis argues that national events are commandeered as platforms for officially sponsored tales of Britain's heritage, which testify to the importance of fashion to the British economy and its role in political strategy.
17
Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
Pełny tekst źródłaStreszczenie:
ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
18
Yao, Bo. "Fe/Pt n̳ multilayer thin film reactions to form L1₀ FePt and exchange spring magnets". Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002416.
Pełny tekst źródła
19
Runmark, Henrik. "I mellanrum och marginaler: Essäfilm : En närläsning av essäistisk form och samhällskritik i två svenskproducerade filmer". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103947.
Pełny tekst źródłaStreszczenie:
This study is a close reading of how Shapeshifters (Sophie Vuković, 2017) and Inuti diamanten (Viktor Johansson, 2020) produce social criticism through essayistic forms. Using relevant research and theories on essay film, the first part of this study explores essayistic form in above mentioned films. It demonstrates how the use of voiceover, narrative structure and other filmic forms in Shapeshifters and Inuti diamanten can be described as essayistic. The second part combines the implications of the first part with theories on essayistic form and its capacity of societal critique. It reveals how an essayistic form allows these filmmakers to produce social critique in similar and different ways. Research about essay film is an expanding field of film studies that has become increasingly relevant in our postmodern society. Investigating a more personal, complex and open style of filmmaking, essay film studies offer new ways of making, watching and analyzing film. A shortage of attentiveness to essay film in Swedish film studies has urged this study to expand the research and explore essay filmmaking in contemporary Sweden.
20
Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture". Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
Pełny tekst źródła
21
Lehmann, Henrik. "Vad kommer hända Bambi? En visuell analys om förväntningar i reklamfilmen Bambi". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22819.
Pełny tekst źródłaStreszczenie:
Uppsatsen syftar till att undersöka hur företag använder sig av narrativ och form i reklamfilmer för att forma en publiks förväntningar och marknadsföra en produkt, med hjälp av frågeställningen “På vilka sätt kan förväntningar för en viss publik skapas genom narrativ och form samt förkunskap och genre i reklamfilmen Bambi (2001), och hur använder sig Sony detta för att sälja en produkt?”. Materialet, en film som gör reklam för spelkonsolen Playstation 2, analyseras genom en visuell analys, kombinerat med en film- samt narrativ analys. Undersökningen resulterade i konstaterandet att filmskaparna har, med hjälp av narrativ, filmtekniska metoder som bild och ljud, samt tidigare erfarenheter av reklamfilmer, försökt forma en viss publiks förväntningar i syftet att sälja en spelkonsol.The purpose of this thesis is to analyze how companies are using narrative and form in commercials in order to shape an audience's expectations and market a product, with the thesis question “In which ways can expectations for a certain audience be created through narrative and form as well as prior knowledge and genre in commercial Bambi (2001), and how is Sony using this to sell a product?”. The material, a film to market gaming console Playstation 2, is being analyzed through a visual analysis, combined with a film- and narrative analysis. The thesis resulted in the finding that the creators have, with the help of narrative, film technical methods such as picture and sound, as well as prior knowledge of commercials, tried to form a specific audience’s expectations with the purpose of selling a gaming console.
22
Chakraborti, Parthasarathi. "Nanoscale electrode and dielectric materials, processes and interfaces to form thin-film tantalum capacitors for high-frequency applications". Diss., Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/55010.
Pełny tekst źródłaStreszczenie:
Today’s thin-film passive components such as capacitors and inductors are limited to low volumetric density and large form-factors that pose as major roadblock to miniaturization of the power modules. These components are also placed far away from the IC’s leading to large interconnect parasitics and lower operating frequencies. Novel thin-film technologies with high densities and small form-factors are, therefore, required to enable miniaturization and performance at high frequencies. Glass- and silicon- based interposer technologies that utilize vertical through-via interconnections have shown way to improve power distribution network (PDN) performance with thin power-ground planes. However, integration of ultra-high density capacitors in such substrates has not yet been demonstrated. This thesis addresses these challenges with tantalum-based, silicon-integrated, ultrathin, high-density capacitors at higher operating frequencies with lower leakage properties (<0.01µA/µF). The anodization kinetics of tantalum pentoxide and the underlying leakage current mechanisms are investigated to provide optimal process guidelines. The thin-film Ta capacitors demonstrated capacitance density of 0.1 µF/mm2 at 1-10 MHz in form-factors of 50 µm, which corresponds to 6X higher volumetric density relative to commercial tantalum capacitors. An innovative approach to address incompatibility of tantalum electrodes with substrates is pursued by prefabricating the electrodes on a free-standing foil, which are then transferred onto the active wafer to form the capacitors on Si. The integration approach is designed to embed these thin tantalum capacitors on alternative substrates such as organic, glass or silicon, with copper via interconnections for lower parasitics. The thesis also explores titanium-based high-density capacitors with high-permittivity titania dielectric as a potential alternate high-density capacitor technology.
23
Doheny, Niamh. "No longer 'on the outside looking in' : Oscar Micheaux's role in the construction of a black American film form". Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400462.
Pełny tekst źródła
24
Blasko, Benjamen. "Visual Music: The Use of Film Composition Devices to Develop Form in the Wind Band Music of Bruce Broughton". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248377/.
Pełny tekst źródłaStreszczenie:
As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.
25
Nonnemaker, Donald. "The advantages and disadvantages of the transition from 35MM film to high definition video production form commercial and corporate applications". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.
Pełny tekst źródłaStreszczenie:
Thesis (M.S.)--Kutztown University of Pennsylvania, 2006.Source: Masters Abstracts International, Volume: 45-06, page: 3251. Typescript. Abstract precedes thesis as 1 leaf. Includes bibliographical references (leaves 69-71).
26
Edström, Fredrik. ""Så det inte bara blir någon form utav barnvakt" : En kvalitativ studie om förskollärares uppfattning om film som pedagogiskt verktyg i förskolan". Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69400.
Pełny tekst źródła
27
Mikhail, Samia, i fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill". RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.
Pełny tekst źródłaStreszczenie:
This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
28
Hluch, Alexander. "Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5946.
Pełny tekst źródłaStreszczenie:
Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages.
Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history.
With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
29
聶智康 i Chi-hong Paul Lip. "Investigating Form 6 students' responses to four different critical analysis activities with film to develop their critical thinkingskills: a case study of a Hong Kong languageclassroom". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43250476.
Pełny tekst źródła
30
Lip, Chi-hong Paul. "Investigating Form 6 students' responses to four different critical analysis activities with film to develop their critical thinking skills a case study of a Hong Kong language classroom /". Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43250476.
Pełny tekst źródła
31
Cetin, Hasan Okan. "Fundamentals Of Architectural Design In Comparison To Filmmaking". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607669/index.pdf.
Pełny tekst źródłaStreszczenie:
The relation between architecture and cinema has begun with the first steps of the technology of moving images at the beginning of the 20th century and it has continued progressively until now by importing various intellectual, representational, and practical devices from each other in order to reconfigure their own systems of knowledge. In this investigation, the fundamental elements of architectural design and principles of their organization are used in the field of cinema as a methodological tool to analyze the compositional features of narrative, mise-en scene and editing/montage. First of all, the end products of both domains are conceived as a form of composition, and in this respect, the compatibility of their design dynamics is examined. Secondly, the fundamental design elements and principles of both architecture and cinema are defined. Finally, in order to redefine the design process of a film and to reveal the existence of fundamental principles of architectural design in the process of filmmaking, a comprehensive and comparative analysis is made between the two fields.
32
Kausalik, Emily Anne. "A Fistful of Drama: Musical Form in the Dollars Trilogy". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213650532.
Pełny tekst źródła
33
Kunyosying, Kom. "The Interrelation of Ethnicity, Iconicity, and Form in American Comics". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12088.
Pełny tekst źródłaStreszczenie:
xv, 186 p. : ill. (some col.)This dissertation analyzes issues of race, ethnicity, and identity in American comics and visual culture, and identifies important areas for alternative means to cultural authority located at the intersections of verbal and visual representation. The symbolic qualities that communicate ethnicity and give ethnicity meaning in American culture are illuminated in new ways when studied within the context of the highly symbolic medium of comics. Creators of comics are able to utilize iconic qualities, among other unique formal qualities of the medium, to construct new visual narratives around ethnicity and identity, which require new and multidisciplinary perspectives for comprehending their communicative complexity. This dissertation synthesizes cultural and critical analysis in combination with formal analysis in an effort to further advance the understanding of comics and their social implications in regard to race and ethnic identity. Much like film scholars in the 1960s, comics scholars in the United States currently are in the process of establishing a core of methodological and theoretical approaches, including Lacanian theories of the image, the comic mapping of symbolic order, the recognition of self in undetailed faces, comics closure, and the implications of the comics gutter. Drawing upon these ideas and additional perspectives offered by scholars of film and literary studies, such as the relationship between ethnicity and the symbolic, the scopophilic gaze, and filmic suture, I analyze the following visual texts: Henry Kiyama's The Four Immigrants Manga, Gene Yang's American Born Chinese, and Anna Deavere Smith's Twilight: Los Angeles. The dissertation also performs a multimedia analysis of the current ascendency of geek culture, its relationship to the comics medium, and the geek protagonist as an expression of simulated ethnicity. Ultimately, the unique insights offered by the study of comics concerning principles of ethnic iconicity and identity have far reaching implications for scholars of visual and verbal culture in other mediums as well.
Committee in charge: Daniel Wojcik, Chairperson; Dr. Priscilla P. Ovalle, Member; Dr. Benjamin D. Saunders, Member; Dr. Doug Blandy, Outside Member
34
Fauré, Philippe. "Le fil rompu du temps : une lecture de Nostalghia d'Andreï Tarkovski". Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20067.
Pełny tekst źródłaStreszczenie:
Proposer une lecture de Nostalghia à travers une analyse exhaustive, éclairer sa structure, son écriture et ses moyens dans leurs rapports aux réseaux de significations qu’ils véhiculent, dans leurs potentialités à susciter notre sensibilité, tel est le but de ce mémoire. Car la structure d’un film, à tous ses niveaux, est une succession de discontinuités dont la réception est une tresse continue de conscience et d’inconscience. En ce sens, le film est un édifice d’images, de sons, de signes, « réalité figée » qui n’engendre pas une, mais de multiples réceptions sans pour autant invalider le projet du créateur. Le langage d’Andreï Tarkovski est celui de la vérité, nous offrant tout d’abord une extraordinaire puissance du sensible qui puisse susciter une transcendance. Aucune des ressources ici mises en œuvre n’est anodine. Nostalghia, est une réalité organique, un agencement d’images, de sons, autant de fragments de temps et de mémoire, tissés entre eux. Leur plasticité s’impose avant de nous proposer une signification : la sensation au-delà du message, éprouver plutôt que prouverThrough an exhaustive analysis, this dissertation aims to offer a reading of the film Nostalghia, to elucidate its structure, its writing and its cinematographic means, through their potentialities to awaken our sensitivity. Indeed, the structure of the film, on all levels, is a succession of discontinuities whose reception is a continuous interweaving of consciousness and unconsciousness. In that sense, the film is an edifice of images, of sounds and of signs, a "fixed reality" that is not generating just a single reception, but a multiplicity of receptions, without ever invalidating the project of the author. Andreï Tarkovski’s language is one of truth; it offers us primarily an extraordinarily powerful sensorial dimension that is capable of arousing transcendence. None of the resources used in this work is anodyne. Nostalghia is an organic reality, a layout of images and sounds, operating as fragments of time and memory woven together. Their plasticity is what strikes us first, before proposing a signification: it is about the sensation beyond the message; it is about experiencing before proving
35
Pritchard, Oona C. "Finding Form". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1541.
Pełny tekst źródła
36
Matthews, Nicole. "Screendance| A Choreographic Tool and a Hybrid Dance Form". Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10817014.
Pełny tekst źródłaStreszczenie:
In an age where dance can instantly be viewed online and then just as quickly be forgotten, what is it about certain videos that resonate with us after viewing them? Is it possible to retain the integrity and intent of the choreographer’s vision on film, especially with instances when it was originally intended to be performed on a stage in front of a live audience? The still evolving art of screendance brings together two different art practices and creates a hybrid art form, sharing a vision with audiences that is unique and can resonate deeply with the viewer. Unraveling the mystery of how it affects us is not easy to answer, but there are proven strategies and theories behind why certain decisions work that can lead artists towards more effective choices.
37
Peterson, Caroline. "Man ville vara modern : En analys av modernistiska strömningar i svenska stumfilmsaffischer". Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-70295.
Pełny tekst źródłaStreszczenie:
Purpose of this essay is to conduct a style analysis of Swedish silent film posters with visual storytelling and cultural memory as a theoretical basis. Concepts such as design, color and technique are studied to highlight the historical context of Swedish silent film posters.
38
Michalski, Milena Lily. "Iurri Olesha, Abram Room and Strogii iunosha : artistic form and political context". Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312039.
Pełny tekst źródła
39
Mattsson, Ludwig. "Hur form följer funktion i titelsekvenser : En semiotisk analys av förtexter i framtidsfilm". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85688.
Pełny tekst źródłaStreszczenie:
Det finns inte mycket forskning på ämnet förtexter, speciellt inte i film som utspelar sig i framtiden. Uppsatsens syfte är att undersöka förtextens form och funktion utifrån en semiotisk analys som använder sig av de begrepp semiotiken medför i tolkandet av tecken. De två frågeställningar i arbetet är “I tolkandet av förtexten utifrån semiotisk analys, vilka val och budskap går att finna i förtextens form?” och “Vilka funktioner fyller de utvalda förtexterna för filmernas narrativ?” I urvalet av filmerna utgick jag från filmer som utspelas i framtiden, detta för att möjliggöra ett eventuellt eget och nytt uttryck för den tid då filmerna utspelar sig. Filmerna är Alien (Ridley Scott, 1979), Brazil (Terry Gilliam, 1985) och The Matrix (Lana och Lilly Wachowski, 1999). Dessa filmer utgår också från tre decennier. Mitt material för att göra analyserna utgick från hermeneutisk metod tillsammans med semiotisk analys. För att kunna tolka de tecken och begrepp som semiotiken medför utgick jag ifrån bl.a. texter av Gripsruds och Bignell. Detta förenat med historia och förhållningssätt till titeldesign, samt information om filmerna och deras produktioner. Uppsatsen resultat framställer att förtexternas form följer filmens funktioner i alla tre filmerna. Analyserna tydliggör att de val som gjorts i skapande ofta går att härleda direkt till filmens narrativ eller konceptuella idéer om varför titelsekvensen uppfattas som den gör utifrån de semiotiska begreppen. Samtidigt visar resultatet att förtextens design skulle vara ett tydligt sätt för att utöka filmens värld ytterligare och skapa ett sammanhängande uttryck till filmernas paketering och marknadsföring.
40
Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book". Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.
Pełny tekst źródłaStreszczenie:
This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.
41
Helle, Johanna. "Ett könskrig tar form : Skapandet av sanningsanspråk i dokumentärfilmen Könskriget (2005)". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104563.
Pełny tekst źródłaStreszczenie:
Den här uppsatsen granskar dokumentärfilmen Könskriget från 2005 i syfte att undersöka hur filmstilistiska val formar dess sanningsanspråk. Eftersom uppsatsens genomförande förutsätter att filmen faktiskt har lyckats med detta inkluderas en övergripande redogörelse för filmens politiska och samhällsmässiga konsekvenser vilket ska verka för att legitimera uppsatsens utgångspunkt. Analysen utgår från en närläsningsmetod utifrån vilken en teori om sanning och dokumentärfilm appliceras på filmen. Med utgångspunkt i Louise Spences och Vinicius Navarros teoretiska resonemang erbjuder uppsatsen en grundläggande förståelse för sanningsbegreppets förhållande till dokumentärfilm för att i analysen fokusera på klippning, kameraarbete och ljud i relation till konstruerandet av ett sanningsanspråk. Mer specifikt undersöks dessa faktorer utifrån hur de förhåller sig till hur filmen strukturerar sina argument, vilka som agerar vittnen, hur vittnesmålen behandlas samt hur ljud och bild samverkar. Slutsatsen sammanfattar vad analysen visar och återkopplar till den tidigare forskningen och till den del som behandlar filmens samhällskonsekvenser.
42
Porter, Whitney. "Monstrous Reproduction: The Power of the Monstered Maternal in Graphic Form". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493050047052178.
Pełny tekst źródła
43
Zook, Julie Brand. "The flow of city life: An analysis of cinematography and urban form in New York and Los Angeles". Diss., Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/54927.
Pełny tekst źródłaStreszczenie:
This dissertation uses quantitative data on city cinematography and the morphological study of filming locations to identify how differences in ways of seeing cities, as shaped by cinematographic choices, are anchored both in differences in what is physically present as well as in differences in frameworks and expectations about what might be interesting or important to see.
Four films are evaluated that are set in Los Angeles and New York, two cities recognized as paradigms in American urbanism: The Naked City (1948), The Long Goodbye (1970), Goodfellas (1990), and Pulp Fiction (1994). In general, the New York movies suggest the embeddedness of the individual in the city and its social life in ways tied closely to urban form, with the visual presentation of the street acting as an index to the position of the individual within the narrative. Los Angeles, by contrast, presents the city as a series of enclaves linked by infrastructure. The street as a sociologically relevant entity hardly exists, with the exception of a handful of chase scenes, as though only crisis can catalyze direct encounters with the streets of Los Angeles.
Within individual movies, the depiction of city form reveals directorial idioms in the presentation of the narrative. The Naked City exploits corner shots to impart greater visual interest to the presentation of activity in the streets. The Long Goodbye shows the degradation of the distinction between public and private space as concurrent with a city form and culture that resists decoding. Goodfellas develops a grammar of views on the street that corresponds to the relationships of individual characters to overlapping social groups over time. Pulp Fiction mainly presents city locations as decontextualized to focus on dialogue and relationships, to sculpt urban form to meet the exigencies of the narrative, and to all the more powerfully introduce surprise.
In the concluding chapter, the qualities of the city as presented in Goodfellas and Pulp Fiction and both of the cities are diagrammed and discussed relative to architectural precedents and ideas that might inform architectural design.
44
Wahbeh, Hossam [Verfasser], Karl [Akademischer Betreuer] Schawelka i Hans [Akademischer Betreuer] Beller. "Der Musikfilm als Form des Dokumentarfilms : Eine Untersuchung über die Erzeugung einer realistischen Illusion im Dokumentarfilm anhand einer Analyse des Musikfilms Berlin - Die Sinfonie der Grosstadt / Hossam Wahbeh ; Karl Schawelka, Hans Beller". Weimar : Promotionsstudiengang Kunst und Design/Freie Kunst/Medienkunst (Ph.D), 2013. http://d-nb.info/1116298384/34.
Pełny tekst źródła
45
Lorenz, Hans Christopher. "Zeit-Kritik als Form der Templation durch Medien des 21. Jahrhunderts". Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2015. http://dx.doi.org/10.18452/17149.
Pełny tekst źródłaStreszczenie:
Wie können Theodor W. Adornos medienkritische Thesen – als wohl prominentester Beitrag gilt das in Zusammenarbeit mit Max Horkheimer entstandene Kapitel „Kulturindustrie. Aufklärung als Massenbetrug (1944)“ – in ihrer Gesamtheit mit heute auf Basis algorithmischer Transformationen prozessierenden zeitkritischen Medien in Bezug gesetzt werden? Wo lässt sich der Begriff der „Manipulation“ erweitern, oder neu verorten, wenn Mediensysteme als „nicht-menschliche Akteure“ (Bruno Latour) im mikrotemporalen Bereich prozessieren, entscheiden und im technikepistemologisch orientierten medienwissenschaftlichen Diskurs eine Akzentverschiebung und gar Aktualisierung des Begriffs „Medien-Kritik“ beziehungsweise „Zeit-Kritik“ anregen? Und mit welchen Abhandlungen hat womöglich Adorno selbst bereits ein Denken eröffnet hinzu der Erörterung von Funktions- und Zeitwe(i)sen von Medien als Basis von Manipulation menschlicher Wahrnehmung auf subliminaler Ebene?How can the aggregate of Theodor W. Adornos media-critical hypotheses be relativised to todays time-critical media which effect processes on the basis of algorithmic transformations – the most prominent contribution arguably being constituted by the chapter “The Culture Industry. Enlightenment as Mass Deception” (1944), formulated in collaboration with Max Horkheimer? Within which sphere can the concept of “manipulation” be expanded, or re-contextualised, if media systems – essentially “non-human actors” (Bruno Latour) – effect processes and decisions in the micro-temporal sphere and, thus, trigger a shift in emphasis and a re-definition of the concept of “critique of media” or “critique of time” even within technologically and epistemologically orientated scholarly media discourse? And which are the treatises by means of which Adorno may have himself already opened up a school of thought, supplementing the debate on the methods (and systems) of media functioning and media-specific temporal considerations as the basis for the manipulation of human perception at a subliminal level?
46
Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.
Pełny tekst źródła
47
Ehlers, Wibke. "With Pad and Pencil: Old Stereotypes in a New Form? A Comparison of the Image of the Journalist in the Movies from 1930-1949 and 1990-2004". Thesis, University of Canterbury. Political Science and Communication, 2006. http://hdl.handle.net/10092/883.
Pełny tekst źródłaStreszczenie:
This thesis aims to provide an insight into the stereotypical imagery of journalists on the screen and its changes in popular culture, namely in film. Much research has been done on categorising different filmic characters and on journalist in popular culture as well as in real life, but from my knowledge no comparative approach focussing on the changes in the filmic stereotypes has been undertaken yet. Therefore my literature review covers existing research on journalists in film and the various categories scholar do put these characters in. Using qualitative content analysis, namely by watching and opposing sixteen selected movies, this study aims to give some in-depth view into the question if and how filmic stereotypes have changed over the approximately seventy years that lie between the films from the first (1930-1949) and second (1990-2004) period of analysis. In eight comparative chapters this study argues that some stereotypes have changed while others remain the same. Influential factors for these changes as found in the thesis are for example history, culture and audience expectation. The reason some stereotypes do not change is that they are deeply embedded in American myth that is even harder to change than stereotypes. The thesis concludes that most journalistic figures underwent considerable changes or even disappeared with only the crusading journalist, as a mythical heroic figure, hardly changed at all.
48
Hui-wen, Huang, i 黃慧雯. "Electrodeposition of CuInSe2 Thin Film form CuIn Precursor". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/69214386975379527358.
Pełny tekst źródłaStreszczenie:
碩士國立成功大學
化學系
88
The ternary chalcopyrite semiconductor CuInSe2 (CIS) is a promising material for the fabrication of thin films solar cells due to its high absorption coefficient (α, ~105 cm-1), suitable band gap (Eg＝1.04 ev) and good stability. The experiment used two step electrodeposition to prepare CuInSe2. The first step, we used electrolyte which is prepared with CuCl2, InCl3, TEA (trithanolamine) and NH4OH to deposit CuIn precursors on molybdenum. The second step, we used the solution of SeO2 to deposit Se on CuIn thin film, and then we used heat treatment to form more homogeneous CuInSe2 thin film. The heat treated CIS thin films were characterized using X-ray diffractometry(XRD), scanning electron microscopy(SEM), and energy dispersive spectroscopy(EDS). We add complexing agent(TEA, NH4OH) to make CuIn thin film in first step electrodeposution. After second step electrodeposition of Se(selenium), the factors (ex. temperature, time…etc.) of annealing will effect the CuInSe2 stoichiometry. The annealing condition of 200℃ 25 min is the best to generate CuInSe2 film. By photoelectron experiment, we can get p-type and n-type CIS thin film.
49
Ohsawa, Yuki. "Form, content, body parts: an analysis of gender relations in contemporary Japanese film". Thesis, 2011. http://hdl.handle.net/1828/3229.
Pełny tekst źródłaStreszczenie:
This thesis will investigate contemporary Japanese film as a reflection of and commentary on gender relations in Japan. This thesis will discuss two contemporary Japanese films: Love and Pop (1998) and Swing Girls (2004). By employing feminist perspectives we will illustrate that form and content work together in these films to offer both positive and negative critiques of gender relations. Because this thesis examines how these films illustrate high school girls and what kinds of messages they provide, it will apply Mulvey’s (1975) feminist film theory and Morohashi’s (2009) research, which is about visual images of contemporary Japanese women. This thesis will pay attention to specific camera techniques, lighting, and settings, which directly connect with the films’ content. We will analyze the form and content of these two Japanese films to show how the interpretation of a work of art, specifically a feminist interpretation, emerges from the relationship between form and content.
50
Le, Quang. "Physically based closed-form solutions for film condensation of pure vapors in vertical tubes". 2012. http://hdl.handle.net/1993/5307.
Pełny tekst źródłaStreszczenie:
This work analytically solves the governing equations of the laminar film condensation from pure vapors in vertical tubes to find the condensate film thickness. The solution is then extended to turbulent flow conditions for steam. All other relevant quantities are derived from the film thickness solution. For laminar film condensation of quiescent vapors, an exact explicit solution and an approximate closed-form solution were found by using a new definition of the dimensionless film thickness, the Lambert W-function, and a logarithmic function approximation. For laminar mixed-convection film condensation with interfacial shear stress, an approximate closed-form solution was found by using a new definition of the pressure gradient. For turbulent film condensation of steam, correlations of the turbulent vapor and liquid viscosities were formed by asymptotically comparing this approximate laminar closed-form solution to a turbulent flow numerical solution. The present solutions compared very well to published numerical and experimental data.