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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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Shu, Chang. "On the Edge of the Margins: Female Independent Documentary Filmmakers in Contemporary Mainland China". Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365795.
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The independent documentary film industry in contemporary mainland China has
experienced dramatic changes over the past two decades, reflecting the rapid
economic development and social transformations taking place in the People’s
Republic. Established filmmakers, mainly male, trying to activate the local film
market, and building reputations internationally, have been the main focus of studies
relating to Chinese independent documentary cinema. Women filmmakers – who
bring new dimensions to both film production and aesthetics – have been little studied
in comparison to their male counterparts. These women must make concessions to the
double pressures of mainstream ideology and a hidden culture of male chauvinism.
This has seldom been discussed or even mentioned by researchers.
This research explores the experiences and strategies of woman independent
documentary filmmakers, including their response to having their work viewed
through the prism of gender, in an industry that is dramatically changing, though still
subject to social, political and economic constraints. This research comprises archival
video-documentation and a written dissertation. The former consists of a series of six
interviews with female independent documentary filmmakers that is presented on
DVD; the latter provides a broader historical context and explores detailed case
studies based on the transcribed interviews.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Millar, Michelle. "Alice Guy Blache and the development of early cinema". Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343731.
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Gupta, Dipti. "Confronting the challenge of distribution : women documentary filmmakers in India". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39431.pdf.
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Reynolds, Lucy. "British avant-garde women filmmakers and expanded cinema of the 1970s". Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536627.
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My thesis examines the expanded cinema of Gill Eatherley, Annabel Nicolson and Lis Rhodes. My intent has been to locate them within their historical context, addressing in particular their relationship to the cohesive, 'Structural' film culture then emerging from the London Filmmakers' Co-operative, and the distinct expanded film form with which it was associated in the early part of the 1970s. The main focus of my methodology, however, is interpretative rather than empirical. Through close textural readings of key works I have attempted to open up fresh critical frameworks for understanding their work, referring to discourses of phenomenology and the haptic, for example, as a means of exploring their subjective and embodied relationship to the materials and apparatus of film. My thesis proposes a multi-interpretative analysis of Eatherley, Nicolson and Rhodes' rich and complex film works. The aim of my research is to create a dialogue of ongoing questions between the different theoretical, political and subjective positions their films engender, from which, it is hoped, productive juxtapositions and convergences can emerge.
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Agina, Anulika. "Nigerian filmmakers and their construction of a political past (1967-1998)". Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/96x0z/nigerian-filmmakers-and-their-construction-of-a-political-past-1967-1998.
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Once criticised as ‘seemingly’ oblivious of the political and historical concerns of the state (Osofisan, 2007; Adesokan, 2009b; Alamu, 2010; Okome, 2010; Mistry & Ellapen, 2013), some southern Nigerian filmmakers have begun reversing such critical narratives through negotiated images of the country’s political history. In spite of that, academic attention to such videos remains on the margins of textual or isolated audience analyses. This research questions the motivations, narrative techniques, underlying ideologies and reception of video films that construct Nigeria’s political past between 1967 and 1998, two significant moments in the country’s postcolonial history. This is achieved through contextual and post-structuralist readings of the films as popular art as well as semi-structured interviews of filmmakers and film journalists. The study found that historicizing an ethnically-diverse postcolonial state such as Nigeria through the agency of film is fraught with potential dangers, most of which cannot be mitigated by the filmmakers. Each stage of the production/consumption process is compounded by societal factors including filmmaker’s background, finance, audience and censorship. Also evident from the findings is that popular Nigerian videos sustain and subvert the dominant narratives on popular arts to gain economic advantage. Whereas some filmmakers endorse politicians’ practices, others subvert authoritarian regimes through metaphoric filmic codes (negotiated images) intelligible to audiences and deployed by the producers in order to circumvent censorship. Interrogating film journalists in addition to filmmakers served as an antidote to film producers’ self-reporting. By examining the reception of films through the lens of journalists, this study makes no generalisable claims on audiences, but delivers an original methodological approach to understanding films made in the past, about the past. Thus, the study proposes opening up the methodological approaches to Nollywood to accommodate film texts, producers and audiences rather than lone textual analyses that silence creators and consumers.
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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.
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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.
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Marquez, Zaida. "Articulating a diasporic identity: The case of Latin American filmmakers in Quebec". Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28420.
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The flow of immigrants to Canada continues to increase steadily. Questions regarding identity are thus unavoidable in order to understand how diasporic identities are constructed within a multicultural Canada. An important contribution to this debate is embedded in the cinematographic expressions that immigrants produce. Such cultural products serve not only as mean to represent themselves, but also to negotiate their positions in regards to Canadian society, as well as their countries of origin. The Latin American community is an interesting example, as multiple cultures, nations, histories, and identities are included within it.
This study critically analyzes how identity is represented in the films produced by Latin Americans in Quebec. The analysis takes into account the films, the filmmaker's perspective and the conditions these documentaries were produced in. Given these elements, this research looks at how a Latin American identity is constructed from the diaspora, and what kind of cinematographic strategies the filmmakers use to articulate such an identity.
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McCarty, Andrea Nina. "Toying with obsolescence : Pixelvision filmmakers and the Fisher Price PXL 2000 camera". Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/39180.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005.Includes bibliographical references (p. 155-165).
This thesis is a study of the Fisher Price PXL 2000 camera and the artists and amateurs who make films and videos with this technology. The Pixelvision camera records video onto an audiocassette; its image is low-resolution, black and white. Fisher Price marketed the PXL 2000 to children in 1987, but withdrew the camera after one year. Despite its lack of commercial success, the camera became popular with avant-garde artists, amateur film- and videomakers and collectors, sparking a renewed interest in the obsolete camera. An online community has built up around the format, providing its members with information on how to modify the camera to make it compatible with contemporary digital equipment. Although Pixelvision garners little recognition from mainstream culture, the camera's hipster cachet and perceived rarity has driven up prices in the community and in auctions. This thesis examines the position of the PXL 2000 camera within the history of moving image technology, and in the context of today's digital video equipment. How has this obsolete video camera made the transition from analog to digital? The thesis also explores Pixelvision's position in the cultural hierarchy of media, as well as the motivations of artists and users who are creating with the camera today, as it moves further and further into its obsolescence.
by Andrea Nina McCarty.
S.M.
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Daniels, Tracy K. (Tracy Kim). "Hybrid cinematics : rethinking the role of filmmakers of color in American cinema". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42422.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008.Includes bibliographical references (leaves 69-71).
This thesis explores the practices of filmmakers of color in the United States who employ strategies to circumvent industrial, financial and cultural barriers to production and distribution. To overcome these barriers, many filmmakers of color in the United States operate as independents, which can allow them to route around Hollywood or forge a new space within. For most contemporary independent minority filmmakers, such as those from Latin, Asian, Pacific, Native and African American communities, an amalgam of political, industrial, economic and technological shifts have both facilitated and hindered access to crucial funding and distribution opportunities, which in turn impacts their ability to control and shape their imagery and identity. The result of these impediments inspires a mix of endeavors by those who seek mainstream access and success, those who seek independent status, and the hybrid practices of those who increasingly negotiate between the two. Hybrid Cinematics describes practices of those who negotiate such strategies to not only overcome persistent barriers, but also to strengthen their presence and authority within the American motion picture industry.
by Tracy K. Daniels.
S.M.
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McHodgkins, Angelique Melitta. "Indian Filmmakers and the Nineteenth-Century Novel: Rewriting the English Canon through Film". Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1130955416.
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Thesis (M.A.)--Miami University, Dept. of English, 2005.Title from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).
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Thabet, Mezghani Wafa. "The voice of silence as echoed by female filmmakers : reading between the shots". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3108.
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La présente recherche vise à explorer des formes multiples de silence représentées dans un film et à étudier la façon dont le silence a été perçu et conçu par des cinéastes femmes selon la perspective de l’analyse critique de discours (ACD). Dans ce contexte, nous avons choisi quatre longs métrages produits durant le XXIe siècle par quatre femmes cinéastes originaires de deux milieux culturels différents — à savoir les États-Unis et la Tunisie, à travers lesquels nous avons abordé notre problématique. Nous avons adopté l’approche développée par Fairclough (1989) qui consiste en trois étapes analytiques : description, interprétation et explication, combinant pragmatisme et analyse sémiotique. Cette recherche introduit également le concept de ‘voicing’ en référence aux signes sémiotiques et aux techniques cinématographiques qui sous-tendent la signification du silence et sa dimension pragmatique. Les résultats de l'étude démontrent que l'utilisation de ‘voicing’ s’avère un moyen efficace pour créer une méthode systématique d'analyse du silence au cinéma. Ils montrent également qu’en dépit des différences, des thèmes abordés et du contexte socio-culturel des cinéastes, il existe un dénominateur commun entre les quatre films, à savoir leur positionnement féministe ou pro-féministe.En outre, il ressort de notre analyse que les films en question constituent des barrières de résistance à l'hégémonie patriarcale du cinéma grand public qui sont fortement influencées par les perceptions individuelles des cinéastes, leurs expériences personnelles et le contexte culturel auquel elles appartiennentThe current research aims to explore several of the manifold states of silence represented in film and to investigate how silence and silencing have been perceived and conceived by female filmmakers from a Critical Discourse Analysis (CDA) perspective.This is achieved by examining the case studies of four feature films produced in the twenty-first century by four female filmmakers from two different cultural backgrounds–namely the USA and Tunisia. Research questions are qualitatively applied to a corpus of four films, following Fairclough’s (1989) three analytic stages: description, interpretation and explanation, using pragmatics combined with semiotic analysis. The thesis also introduces the concept of ‘voicing’ with reference to the semiotic signs and film techniques that underpin the meaning of silence and its pragmatic dimension.The findings of the study show that using ‘voicing’ has proved to be effective in creating a systematic method of analyzing silence in films. They also show that even though the cinematographic practices, the themes dealt with and the socio-cultural background of the filmmakers may be different, there is a common denominator between the four films: their feminist or pro-feminist agenda.Further, it argues that the films under discussion may be considered as barriers of resistance to the hegemonic patriarchal mainstream cinema and that these barriers are strongly influenced by the filmmakers’ own individual perceptions, personal experiences and cultural background
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Lin, Hui-Ling. "Bodies in motion : the films of transmigrant queer Chinese women filmmakers in Canada". Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33753.
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This dissertation examines the representations of racialized, gendered, queer sexuality in selected films produced by four transmigrant queer “Chinese” women filmmakers in Vancouver, with a main focus on body images. Personal interviews with these filmmakers about their lives and films were collected and analyzed in-depth using feminist qualitative method informed by standpoint epistemology. The analyses are framed by discussions of what it means to be “Chinese” outside of China, in relation to what it means to be female and “queer.” Selected films were analyzed drawing on feminist film theory, postcolonial and poststructuralist theories, and transnational
feminist theory. Judith Butler’s ideas on gender performance and performativity and José E. Muñoz’s concept of “disidentification,” and their application to theories of the body serve as a framework to examine the following research questions: How do these filmmakers re-present “Chineseness,” “queerness,” and “femininity” by deploying their own bodies or those of others? How do they evoke or challenge mainstream stereotypes, and what kinds of narratives and film techniques do they exploit in order to re-conceptualize the non-conforming and transmigrant queer female body? Chapter 2 provides a detailed, contextualized introduction to the filmmakers, based on the interviews, and information on the Canadian context. Chapter 3 explores how racialized, queered, and gendered bodies are presented, appropriated, or subverted in a selection of films. Chapter 4 examines three major strategies of disidentification in the films: the appropriation of dominant stereotypical images; the use of hybrid genres and technical effects; and the reinvention of language(s). The analysis of the films and interviews shows that these filmmakers produce alternative forms of embodied knowledge based on their lived experiences, showing that there is no essential queer “Chinese” women body. Their sense of “Chineseness” is highly contextualized and intersectional, which opens up the possibility that transnational “Chineseness,” like gender and sexuality, could be cited and re-cited in ways that disclose its vulnerability and instability. These filmmakers and their films contribute to new articulation of mobile queerness in the context of transmigrant “Chineseness,” and create a temporary and transnational “utopian performative,” a safe and hopeful space for queer women viewers.
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Cheng, Feng. "Constructing a New Asian Masculinity: Reading Lilting Against Other Films by Asian Filmmakers". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20520.
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In western media, Asian men have traditionally represented as either effeminized or emasculated. First providing a historical and ideological account for such representations, this thesis proceeds to analyze the advantages and disadvantages of the three strategies that Asian filmmakers have adopted to counter this stereotype: the assimilationistic strategy, the segregationistic strategy and the integrationistic strategy. Eventually, this thesis proposes a new way to cope with dilemma by providing a close reading of a British independent film, Lilting. It argues that a fourth strategy, which is named the dynamic strategy, can be detected. Because in this film masculinity is presented as a fluid quality that flows through different characters and does not attach to race or any other fixed identity, there is no need to struggle against the demands imposed by the white hegemony.
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Parks, Tyler Munroe. "Subtle way out : cinematic thought, belief in the world, and four contemporary filmmakers". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15978.
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In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regimes of audiovisual thought. In the regime of the movement-image, such thought is constituted by two processes. The first, differentiation/integration, expresses a whole that changes through the intermediary of the shifting relationships between the objects and people on screen. The second, specification, gives images a determinate function in a sensory-motor schema, through which perceptions are linked to actions in rational intervals of movement. With the regime of the time-image, as I understand it, thought instead comes to mean, as Deleuze puts it in Foucault, to experiment and problematize, and “knowledge, power, and the self are the triple root of a problematization of thought” (95). It is my argument in this thesis that Deleuze’s work on cinema is of great utility in carrying out filmic analyses that seek to detect and draw out the consequences of strategies of filmmaking that make knowledge, power, and self problematic. Furthermore, such a mode of analysis is particularly valuable in attending to new films that confront us with novel means of organising problematic audiovisual thought. My arguments are made through consideration of two films each from four directors: Wong Kar-wai, Nuri Bilge Ceylan, Pedro Costa, and Apichatpong Weerasethakul. While there are many important differences between the works of these filmmakers, their films nevertheless lend themselves to an approach that seeks to determine how thought becomes problematic in specific cases. Similarities and resonances are brought out between these films and those that Deleuze uses himself in making his arguments and shaping his concepts, but I also identify new problems that we encounter in the works of these filmmakers, which extend the range of meaning of some of those concepts. One such concept that is of particular importance in this thesis is “belief in the world”. There is always something in those films that pass into the regime of the time-image that is asystematic, which breaks up and multiplies thought, multiplies the thinkers we are made to inhabit. Our relation to the world of the film is therefore unstable and uncertain, and calls for belief, since films themselves in this regime produce new links between humans and the world, rather than firmly establishing a realistic state of things, a temporal and spatial matrix that accords with that which we experience in everyday existence. Such films thus make us receptive to a thought different from that interiorised thought through which, as Nietzsche writes, the apparatus of knowledge abstracts, simplifies, and takes possession of the world and others (Will, no. 503, 274).
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Albright, Laura Beth. "2D Spatial Design Principles Applied to 3D Animation: A Proposed Toolset for Filmmakers". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230703092.
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Weinberger, Gabriele W. "Aesthetics and politics of fascism : West German women filmmakers in the nineteen seventies /". The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487590702991884.
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Albright, Laura Beth. "2D spatial design principles applied to 3D animation a proposed toolset for filmmakers /". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230703092.
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Asprey, Michele Monica. "Postwar British Cinema and the Death Penalty: Filmmakers, Social Change and Legal Reform". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29407.
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This thesis examines the work of filmmakers in Britain who confronted the issue of capital punishment during the years from 1945–1969. It analyses the contribution that fictional films made to the ultimate abolition of the death penalty in Britain in 1969, showing how these films “socialised” the issue, putting it before a much wider audience than parliamentary or public debates, or even documentary films, could.
This thesis demonstrates how these films exposed and explained the complex legal, ethical, social and other issues involved in capital punishment, using a multitude of styles, genres, scenarios and cinematic techniques. They did this despite the fact that, for most of this period, British censorship forbade fictional films to feature scenes of execution, or even discussions of it.
Using thirteen key films, and by reference to around 100 other films, this thesis shows that the fictional films of the time performed an educative role in the capital punishment debates. It places the films in their legal and political context, including contemporary executions (some involving appalling miscarriages of justice). It argues that these filmmakers (whether through intentional social activism, or simply by making films of dramatic impact) contributed to the social setting in which Parliament abolished the death penalty, as well as assisting the broader public to live with that decision.
Though polling suggests that the British public did not support abolition during this period, this thesis argues that the polls did not tell the whole story, and that other factors could explain how reform was nevertheless possible. Using modern analytical modelling which assesses the social impact of films, this thesis demonstrates that postwar Britain films and filmmakers played an important yet little-recognised part in the abolition of capital punishment in Britain.
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Mullins, Anthony. "Screenwriting with Stanislavsky : Augmenting a Screenwriting Process Using Stanislavsky’s ‘System’". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366510.
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When screenwriter and doctoral candidate, Anthony Mullins, first started studying Konstantin Stanislavsky’s ‘system’ of performance and script analysis, he hoped the well-known acting technique would be a useful tool for screenwriters. Mullins assumed that because Stanislavsky’s technique analysed all the characters of a story (not just the protagonist) it would naturally be a more detailed approach than conventional techniques like the ‘three-act structure’. It also appeared that Stanislavsky’s ‘system’ had the added advantage of being familiar to actors, the very people who would eventually bring the screenplay to life. However, as Mullins began adapting Stanislavsky’s techniques to his screenwriting process he found it was instead counter-productive, particularly in how it mirrored many of the prescriptive limitations of the ‘three-act structure’. Further research of Stanislavsky’s late-career techniques revealed his wariness of “over-analysis” and the embrace of more intuitive and little-known improvisational techniques, referred to by Stanislavsky as ‘active analysis’. The research centres on the creation of three original TV drama pilot scripts and the Stanislavsky-influenced techniques Mullins used to create the screenplays.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Dunn, Melissa L. "An investigation of the effectiveness of the Internet as a tool for independent filmmakers". 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.
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Thesis (M.S. )--Kutztown University of Pennsylvania, 2006.Source: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 21).
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Zambon, Achille <1990>. "Le potenzialità del medium audiovisivo nel racconto d'impresa. Prospettive d'interazione tra aziende e filmmakers". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4832.
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La tesi si propone di indagare le potenzialità del medium audiovisivo nel racconto d'impresa, nonché il rapporto tra imprenditore (o marketing manager) e le professionalità coinvolte nella produzione di filmati promozionali, pubblicità, ma anche cortometraggi, ecc.
Partendo da un inquadramento teorico del rapporto tra identità, strategia e modello di business dell'impresa, attraverso il framework del c.d. "tetraedro del valore", si valuterà come questi elementi possano permeare coerentemente la comunicazione aziendale attraverso le tecniche proprie dello storytelling (sfruttando innanzitutto le potenzialità di sense-making insite nel prodotto o servizio offerto).
Si passerà dunque ad analizzare le proprietà tipiche del medium audiovisivo all'interno di un mix di comunicazione: tra queste l'affinità con il consumo online, la viralità, l'impatto emotivo. Verrà preso in considerazione il rapporto tra l'impresa e le professionalità (soprattutto di natura artistica) coinvolte nella produzione video, cercando di capire fino a che punto possono incontrarsi e contemperarsi esigenze di natura diversa (obiettivi economico-finanziari Vs. creativo-espressivi, nella fattispecie).
Verranno infine presentati dei casi aziendali che mettono in luce e concretizzano, in maniera critica, le riflessioni elaborate in precedenza.
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Vazquez, Rebecca M. "The rise of interactive cinema and its significance for filmmakers, audiences, and the exhibition industry". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/525.
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Traditionally, movie theater audience members are passive participants. The role of the traditional spectator is to sit down in a dark theater and watch as the film unfolds. As images flash across the screen, the audience member has no obligations. All they have to do is react. However a new, more actively engaged audience member is now emerging. The new role of the active audience member can be defined as putting a conscious effort into affecting one's own movie-watching experience. The trend we are now seeing in cinema is that of an interactive experience in motion picture creation and exhibition, and it utilizes this updated spectator role to great effect. Whether the audience member has a role in actually making the film, as is the case with crowdsourced cinema, or if they are actively involved after the film is created, as is the case with shadow casts and "choose your own ending" movies, going to the movies has become a much more active experience. The fascinating implications of this interactive cinematic movement for artists, audiences, and the exhibition industry cannot be understated. This thesis will explore some of the biggest interactive trends in filmmaking and exhibition today, and then delve into the implications of these trends.B.A.
Bachelors
Arts and Humanities
Cinema Studies
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Giannatou, Evangelia. "Exploring the sociotechnical dynamics of the Creative Commons Licenses : the case of Open Content filmmakers". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/19520.
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Networked information technologies and especially the internet, have brought about extensive changes and re-arrangements in cultural production, distribution, commercialisation and consumption of creative content. As an attempt to create a type of copyright licenses better suited for the online environment, the Creative Commons (CC) organisation has launched a license suite that allows creators to openly distribute and share their work under varying levels of restrictions. This thesis aim is to explore the motivations, expectations and understandings of both users and non users of CC licenses within the Independent Filmmaking Community. The research maps out the strategies and diverse business models that users of the licenses develop around their implementation but also the problems and conflicts that arise for both users and non users of the licenses. It therefore sheds light on the processes of adoption, implementation and subsequent fragmentation of the socio-legal innovation that is the CC license suite. While Free and Open Source models of software development (FOSS) have been thoroughly researched, little is known about how other content creators incorporate open licensing strategies within their creative fields. This research aims to address this gap in the literature through the examination of the use of CC licenses by Open Content Filmmakers. Building on theoretical and empirical research in Science and Technology Studies my aim is to analyse the legal innovation of CC licenses by focusing on how they are embedded within the everyday practices of open content filmmakers. By applying the Social Shaping of Technology framework and more specifically the Social Learning perspective, I examine the ways different actors ascribe meaning and conceptualise the role and usefulness of the licenses for their creative practices. Filmmakers negotiate the licenses’ significance through their interactions with diverse actors. These negotiations entail conflicting interpretations as different actors often have different agendas, commitments and resources, resulting in the transformation of both the licenses’ stated goals and of the perceived affordances of digital technologies. Drawing on multi-sited ethnography and rich qualitative data, this thesis captures the processes of learning by doing and learning by interaction, as filmmakers seek to find an appropriate way of applying the licenses, situating them within their localised creative endeavours through trial and error practices. The analysis of empirical evidence reveals how independent filmmakers navigate between ideological imperatives and practical considerations in order to form distinct, heterogeneous configurations that work for them, instead of outright adopting a homogeneous generic vision for how copyright should be applied in the digital environment.
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Cavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.
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Thesis (Ph.D.)--Indiana University, Depts. of Communication and Culture and American Studies, 2007.Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.
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Smith, Thomas J. II. "Architecting an Online Social Resource for Amateur Filmmakers using a Hybrid Systems Engineering and Agile Approach". Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/451.
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Bozic, Sonja. "Transmedia Storytelling Through the Lens of Independent Filmmakers: A Study of Story Structure and Audience Engagement". Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou154152508641946.
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Young, Kaufman Francesca. "Contested representation : an historical reassessment of the work of art filmmakers in the PRC, 1989-2001". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/30123.
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This thesis reconsiders the work of art filmmakers in the People’s Republic of China between 1989 and 2001. These dates bookend the decade of the 1990s, comprising two defining moments in the reform era: the Tiananmen Square political crisis in 1989, and the entry of China into the WTO and the global market economy in 2001. The 1990s is therefore approached in this research as a transitional decade, in which the future direction of China was being decided. The term ‘art film’ is used to identify a distinct mode of film practice, characterised by a peripheral position, a clear directorial voice, and an emphasis on aesthetics. This rubric therefore incorporates films made by a range of auteur directors, rather than solely the ‘independent’ or ‘underground’ works commonly assessed in studies of the decade. By examining the representational modes used by art filmmakers in the 1990s, filmic innovations can be seen to constitute an artistic response to the restrictions placed on representation by the State. This thesis argues that historical reassessment was a key factor in the innovation of cinematic representation in the 1990s. Utilising a cultural history approach, the thesis engages in close textual analysis of seventeen films, identifying and contextualising the representational conventions drawn on by filmmakers. The thesis is structured around five thematic chapters, each dealing with a cluster of films focused on similar content. The first chapter examines filmic reassessments of China’s socialist history, and concludes that the limitations of the official narrative provided opportunities for the assertion of alternative histories. The subsequent chapters develop on the concept of historical reassessment by looking at changing modes of cinematic representation in relation to rural populations, women and gender, urban regeneration, and youth culture. By engaging in a wide-ranging survey of how key themes were represented in art films in the 1990s, the thesis reveals the critical role which historical reassessment played in pushing directors to new levels of artistry and experimentation in their filmmaking. This thesis concludes that by questioning the cinematic forms used historically to represent these issues and social groups, Chinese art filmmakers achieved a new level of artistic independence in their work by the end of the decade.
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Alrimawi, Tariq. "Issues of representation in Arab animation cinema : practice, history and theory". Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14969.
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This practice-based research addresses the challenges that face the animation practitioner in the Arab region. In engaging with this topic it highlights the contrast with international animation producers, and also seeks to analyse how Arab animation cinema is represented and understood in the West. It introduces Arab animation history, and the animation industry as it currently exists in the Middle East. I suggest the reasons why there have been so few animated shorts and feature-length films successfully produced in the Arab world, in spite of their being a rich literary and cultural heritage. This study reveals a number of cultural, religious, political and economic issues related to Arab animation cinema, both in relation to its history and in regard to its place domestically and internationally. This research explores how YouTube and other social media became the main platform for Arab animation artists to distribute their political works during and since the 'Arab Spring' in the Middle East. The immediate consequence of this is an explosion in the exposure of Arab animation artists and their work to the world, in comparison to the very limited opportunities and freedoms of the past. Moreover, this study seeks to open up a conversation about the possibility of showing animated films that include Arabic content to Western audiences. This is complex in the sense that the place and presence of Arab animated stories are affected by how the representation is perceived within its production context and conditions of exhibition. My research will result in original knowledge, to be made available to Arab filmmakers, the Arab film industry and international academics addressing and championing animation, by engaging with conceptual questions, creating a critical practice methodology, and applying research-led practice methods.
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Nguyen, Alan Duc Khoi. "Utilising Principles of Cinematography to Communicate Anti-Violence and Anti-Vengeance Themes in a Revenge Film". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/375769.
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In this exegesis I discuss the context, rationale and methods involved in the development and production of Firebird (2016), a film created as the studio component of my Doctor of Visual Arts degree. The film, along with this exegesis, serves to address the research question: How can anti-violence and anti-vengeance themes be communicated through images in a revenge film? Revenge films often gain audience sympathy for the protagonist through the presentation of an initial wrongdoing or harm, which gives licence for viewers to enjoy the portrayal of violent acts that the protagonist subsequently enacts on his/her revenge-targets. As a filmmaker and film researcher, I have a particular interest in revenge films that provide a more critical approach to the portrayal of vengeance and violence. For the purposes of this exegesis, the terms ‘anti-vengeance’ and ‘anti-violence’ will be used to describe films, or aspects of films, that portray violent vengeance in a disapproving, non-approving, or ambivalent manner. The main contributions of this creative-art and research project are as follows. First, it provides a relatively rare example of a revenge film made with the conscious intention of communicating anti-violence and anti-vengeance themes. Second, it documents my experiences: the challenges I faced, my decision-making processes, and the techniques I adopted, all of which may be of some interest to other filmmakers. Third, it provides a systematic analysis of cinematic image techniques used in a number of contemporary revenge films to support either anti- or pro-vengeance sentiments. The actual process of making this film involved eclectic, iterative and fluid combinations of hands-on experimentation, reflection-in-action, and insights gleaned from the study of previous film works. A distinctive aspect of Firebird is the gradual evolution in its portrayal of the revenge-target, who is also the lead antagonist. Initially, this character is depicted as mysterious, powerful and menacing, but as the film progresses, it allows the audience to see him in a far more humanistic and sympathetic light, thereby undermining the notion of justified vengeance. This nuanced treatment contrasts with the way many revenge films portray targets of revenge as outright villains, with few redeeming qualities. While revenge films that feature anti-vengeance themes generally avoid such damning depictions, they generally present a static, rather than evolving, view of these characters. In this context, the ‘gradual improvement in understanding’ approach employed in Firebird is an innovation within the field of revenge films. To implement this approach, initial shots of the antagonist were taken from low-angle placements that showed little of his face but suggested a dominating presence. Subsequent images of him included more humanistic aspects (e.g., warm-toned lighting cast on his face) and were further enhanced through post-production (e.g., selective brightening and resizing of shots to provide greater intimacy). The antagonist’s perspective was explored, not only through dialogue but also through flashback imagery, which often contrasted in form from surrounding images. The film also showed the antagonist as suffering from the negative psychological consequences of his own violent acts. In one particular scene, where he expresses a deep sense of guilt, blacks were used to isolate the figure, top-lighting was used to support the notion of psychological anguish, while green-gels on lighting were used to give a cold, uncomfortable atmosphere. During the course of the film, the protagonist-revenger moves from a state of relatively good health, self-confidence and certainty of purpose to one of wavering resolve and physical frailty. Initially, as he speaks of his plan for revenge, the camera travels towards him, adding to the power of this moment and supporting a sense of his emotional resolve. As the film progresses, images begin to depict an emotional state of turmoil and indecision, including a close-up shot of a hand poised half-way between his bed and a weapon. Selective colour-grading was designed to depict him with warmer flesh tones early in the film and progress to colder tones in later scenes, to depict the deterioration in his physical health, but also to visually support the internal shift in the character. The ending of the film is decidedly not a triumphant one. A sense of tragedy is conveyed not only through the death of the protagonist, but also through the notion that he is killed by his own quarry, who by that time has shown remorse for past acts of violence. An image of the dying protagonist is shown from what might be the antagonist’s point-of-view, followed by a lingering close-up of the latter’s horrified and grief-filled expression. As for the depiction of moments of violent action, the film tends to focus on showing the effects of violence on the victim, rather than direct visual capture of the violent act itself. The effects are depicted through close-ups of the victim’s face. In this film, the pursuit of revenge is shown as escalating conflict and perpetuating cycles of violence and retaliation, with no apparent satisfaction or redeeming benefits for anyone involved.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
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Craddolph, Hayden V. "Developing a community of independent fim/video producers to foster creation, marketing, and distribution of digital media". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Hayden Film Festival website, 2006. http://www.haydenfilms.com/.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2006.Source: Masters Abstracts International, Volume: 45-06, page: 2805. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 58-59).
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Wolf, Nicole [Verfasser], i Werner [Akademischer Betreuer] Schiffauer. "Make it Real. Documentary and other cinematic experiments by women filmmakers in India. / Nicole Wolf. Betreuer: Werner Schiffauer". Frankfurt (Oder) : Universitätsbibliothek der Europa-Universität Viadrina Frankfurt, 2013. http://d-nb.info/1031630945/34.
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Huang, Yin. "Being Feminist as a Discourse?Investigating Narrative Cinema with Female Protagonists Directed by Chinese Post-Fifth-Generation Filmmakers". Thesis, University of Canterbury. Cultural Studies, 2013. http://hdl.handle.net/10092/8448.
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Since the naming of the Chinese Fifth Generation in the 1980s, generational study became an important methodology in Chinese film studies. The Chinese directors up to the mid-1980s are categorised into five generations. However, the directors emerging after the Fifth Generation do not so far have a certain generational name. Thus, the identification of this “nameless” group, which is called the post-fifth generation in this thesis, is an interesting issue reflecting the political, economical and cultural discourse in contemporary China.
This thesis focuses on these directors’ films narrated with female protagonists, probes the reason why they chose female-centred narratives, and examines how they portrayed women and women’s stories in their filmic representation. In the light of Foucault’s theories of discourse and power, I examine the films as a kind of representation which is generated within discursive formation, and through which the directors identify themselves. The conclusion reached by the discussion is that both the female and the male directors studied in this thesis present very feminine discourse in their films. While the female directors are emphasising, even advertising their identity as women, their male counterparts are trying very hard to simulate and perform a feminine identification. This finding exactly answers the question in the thesis title. Since femininity is something that can be chosen, simulated, used, and played, the word “feminist” can also become a cultural brand from which the directors can benefit.
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Steedman, Robin. "Nairobi-based female filmmakers and the 'Creative Hustle' : gender and film production between the local and the transnational". Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26663/.
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Luan, Lingfei. "Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467295770.
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Hodgson, Philip. "Oppositional spaces : an evaluation of post-nationalist film theory using the work of migrant, exilic and diasporic filmmakers". Thesis, Northumbria University, 2013. http://nrl.northumbria.ac.uk/26289/.
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This thesis evaluates the usefulness of post-nationalist theory in developing and understanding existing debates around national cinemas in film studies. Whilst a great deal of research has focused on the significance and importance of national cinemas, changes in the international landscape have offered challenges to the value of national cinema as a concept. To date, these challenges have been primarily addressed within discussion of transnational cinema which, although useful, has yet to fully interrogate the power relationships between nations. The importance of post-nationalist theory in this regard is that it deliberately seeks out texts which explore these power structures and often focuses on contact zones in which the dominant nationalism, and therefore national cinema, is being overtly opposed and undermined. The central question addressed by this thesis is ‘How can post-nationalist theory advance cinematic debates concerning national and transnational cinemas?’ In order to address this, the films of several migrant, exilic and diasporic filmmakers will be discussed as case studies. This is because their hyphenated identities offer access to a greater number of nationalisms, and also highlight a state of rootlessness in which oppositional positions can be more easily adopted. The filmmakers discussed are: Fatih Akin, whose work offers representations of migrant figures and literal border crossings; Ferzan Ozpetek, who expands these migrant representations to include issues of sexuality and class as non-official nationalisms; Atom Egoyan, whose cinematic style opposes cinematic forms, conventions and nations; Michael Haneke, whose films engage in an overtly oppositional style; and Gurinder Chadha, as a filmmaker who not only uses gender to advance these debates, but also enters them into discussion with mainstream cinema. The thesis will apply close textual analysis to each of the directors’ work in order to illustrate how post-nationalist theory can be used to understand the oppositional spaces they create in relation to nations and national cinemas. This will demonstrate not only the relevance of post-nationalist theory to cinema, but also develop current understanding of the strengths and limitations of the conceptual and theoretical work associated with national and transnational cinemas.
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Sparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle". Thesis, Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
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Social documentary filmmaking cannot be undertaken in a theoretical void, regardless of the intentions of the filmmaker. Each film's textual, stylistic and aesthetic composition is dictated by the ideological intent of the filmmaker, either consciously or subconsciously. As a result, social documentary films are a product of either conservative or subversive filmmakers and can be viewed as cultural products of social control by the dominant capitalist ideology or as tools promoting class awareness, class struggle and revolutionary praxis by those sympathetic to Marxist doctrine.
This dissertation examines how Marxist ideology, in particular theories relating to class structure and the class struggle, can be used by filmmakers to analyse social documentary films. It enables the construction of a methodological 'toolkit' for filmmakers from which they are able to determine if individual social documentary films can be regarded as Marxist or not. This 'toolkit' is comprised of the theories of Lenin, Comolli and Narboni, Brecht, Althusser, and Weber among others.
Once a methodological framework is constructed, it is used to evaluate a number of social documentary case studies including 7-Up, Harlan County USA, Roger and Me, and my own film, A Shit of a Job (which was produced by myself for broadcast on SBS television), as to their adherence to the principles of Marxist aesthetics and allegiance to the proletarian cause of class awareness and the class struggle.
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Sparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle". Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
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Social documentary filmmaking cannot be undertaken in a theoretical void, regardless of the intentions of the filmmaker. Each film's textual, stylistic and aesthetic composition is dictated by the ideological intent of the filmmaker, either consciously or subconsciously. As a result, social documentary films are a product of either conservative or subversive filmmakers and can be viewed as cultural products of social control by the dominant capitalist ideology or as tools promoting class awareness, class struggle and revolutionary praxis by those sympathetic to Marxist doctrine. This dissertation examines how Marxist ideology, in particular theories relating to class structure and the class struggle, can be used by filmmakers to analyse social documentary films. It enables the construction of a methodological 'toolkit' for filmmakers from which they are able to determine if individual social documentary films can be regarded as Marxist or not. This 'toolkit' is comprised of the theories of Lenin, Comolli and Narboni, Brecht, Althusser, and Weber among others. Once a methodological framework is constructed, it is used to evaluate a number of social documentary case studies including 7-Up, Harlan County USA, Roger and Me, and my own film, A Shit of a Job (which was produced by myself for broadcast on SBS television), as to their adherence to the principles of Marxist aesthetics and allegiance to the proletarian cause of class awareness and the class struggle.
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Araújo, Juliano José de 1981. "Cineastas indígenas, documentário e autoetnografia : um estudo do projeto Vídeo nas Aldeias". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285321.
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Orientador: Marcius César Soares FreireTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T13:45:41Z (GMT). No. of bitstreams: 1 Araujo_JulianoJosede_D.pdf: 16332564 bytes, checksum: f98c8578603358e2a303c0790db93366 (MD5) Previous issue date: 2015
Resumo: Criado em 1986 pelo indigenista e documentarista Vincent Carelli, o projeto Vídeo nas Aldeias (VNA) objetiva fortalecer as identidades, patrimônios culturais e territoriais dos povos indígenas através dos recursos audiovisuais. O VNA atua como uma escola de cinema para os povos indígenas brasileiros por meio de oficinas de formação em audiovisual realizadas nas aldeias e na sede do projeto, em Olinda, no estado de Pernambuco. Desempenha também um papel fundamental como entidade responsável pela captação de recursos, produção e distribuição dos documentários. Nesse contexto, esta pesquisa analisa 28 documentários da série "Cineastas indígenas" realizados entre 1999 e 2011 no âmbito do projeto VNA. Trata-se de seis curtas-metragens e 22 médias-metragens de cineastas indígenas das etnias Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará e Xavante. Essa produção audiovisual de não-ficção é considerada como uma prática de autoetnografia no documentário, à medida que ao conceder a câmera para os indígenas lhes é permitido o que dizer, quando, onde e como filmar, a partir de uma perspectiva interna, na qual eles apresentam suas aldeias, seu cotidiano, sua história, suas festas e rituais, como também os problemas sociais que enfrentam. Nesse sentido, a tese propõe a categoria de documentário autoetnográfico para o corpus analisado, tendo como questões norteadoras: Quais são os procedimentos de criação, métodos de trabalho e condições de realização dos documentários autoetnográficos do projeto VNA? E as posturas éticas, opções estéticas e técnicas neles presentes? Qual a importância desses filmes para as comunidades indígenas que deles participam? Com que finalidade eles são realizados? A partir da análise fílmica, em uma perspectiva textual e contextual, isto é, estabelecendo um diálogo entre elementos internos (imagem, som etc.) e externos dos documentários (entrevistas com realizadores indígenas, equipe do VNA, sujeitos filmados, conceitos das teorias do cinema antropológico e documentário etc.), apresenta-se o estudo do corpus enfatizando, respectivamente, as dimensões ética, estética e política da produção audiovisual de não-ficção do projeto VNA. Considera-se essas três dimensões do discurso fílmico como fundamentais para se compreender melhor a categoria de documentário autoetnográfico que, para além de um conceito dos estudos pós-coloniais, acredita-se constituir em uma tomada de posição e reflexão do campo do cinema diante dos filmes dos realizadores indígenas. A análise dos documentários autoetnográficos do projeto VNA revela: um processo de realização cinematográfica (preparação, filmagem e montagem) no qual a autoria é compartilhada, sendo a ética um elemento presente em todas as etapas; o emprego e a modulação de diferentes gestos estéticos com uma forte influência dos cinemas direto/verdade, mas também questões que emergem com força na produção audiovisual de não-ficção contemporânea, como a encenação e o uso das imagens de arquivo; o papel político desempenhado pelos documentários, tendo em vista que se direcionam aos espectadores não-indígenas, seus enunciatários, para discutir a relação entre história oficial versus história não-oficial, a identidade e cultura indígenas, ou ainda para denunciar, reivindicar e lhes dar visibilidade
Abstract: Created in 1986 by the indigenist and documentary filmmaker Vincent Carelli, the project Vídeo nas Aldeias ¿ VNA (Video in the Villages) aims at reinforcing the identities, cultural and territorial patrimonies of indigenous peoples by means of audiovisual resources. VNA works as a cinema school and provides Brazilian indigenous peoples with workshops on audiovisual production, both in the villages and at the project headquarters, located in the city of Olinda, in the state of Pernambuco. It also plays a fundamental role as the responsible entity for the fundraising, production and distribution of documentaries. In this context, this research analyzes 28 documentaries from "Indigenous Filmmakers", a series produced by VNA from 1999 to 2011. This set of documentaries includes 6 short films and 22 medium-length films by indigenous filmmakers of the ethnic groups Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará, and Xavante. This nonfiction audiovisual production is seen as a practice of autoethnography inside the documentary: once the Indians are provided with cameras, they are also allowed to decide what to say, when, where and how to shoot. From an inner perspective, they present their villages, their daily life, their histories, their rituals and traditional events, as well as the social problems they face. That being said, this dissertation argues that the corpus analyzed in this work fit into the category of autoethnographic documentary and presents the following questions: What are the creation procedures, working methods and realization conditions involved in the production of VNA¿s autoethnographic documentaries? And what are the ethical stances, the aesthetic and the technical options presented by them? What is the importance of these films for the indigenous communities that take part in them? For what purpose are they made? The study of the corpus is based on filmic analysis, from textual and contextual perspectives, that is, establishing a dialogue between internal (image, sound etc.) and external (interviews with indigenous filmmakers, the VNA¿s staff, the filmed subjects, concepts from the anthropological cinema and documentary film theories etc.) elements of the documentaries. It also underscores the ethical, aesthetical and political dimension of VNA¿s nonfiction audiovisual production. These three dimensions of the filmic discourse are seen as fundamental for a better comprehension of the autoethnographic documentary ¿ a category which is not only a concept from the postcolonial studies, but also a way through which cinema takes a stance and reflects on the production of indigenous filmmakers. The analysis of VNA¿s autoethnographic documentaries reveals: a filmmaking process (preparation, filmmaking and montage) in which authorship is shared and the ethics an element present in all these steps; the employment and modulation of different aesthetic gestures, a strong influence from the direct cinema/cinéma vérité, alongside issues that emerge with force in the contemporary nonfiction audiovisual production, such as the staging and the use of archival footage; the political role played by the documentaries, since they are addressed to the non-indigenous public in order to discuss the relation between official and unofficial history, indigenous identity and culture, or even to denounce, claim and give visibility to indigenous peoples
Doutorado
Multimeios
Doutor em Multimeios
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Dakessian, Areck Ardack. "Casting nets and framing films : an ethnography of networks of cultural production in Beirut". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31464.
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Filmmakers first received widespread academic attention as case studies into the increasing casualisation of labour in post-industrial economies. Their precarious existence in project-based labour markets provided much food for thought about the future of work, while their status as artists and producers of culture entered them into debates around just what art is and how to approach it. But in light of recent transformations in the cultural industries and the accompanied blurring of boundaries between production and consumption, academic understandings of the lives filmmakers lead have also been somewhat blurred. This ethnography of networks of cultural production in Beirut re-introduces filmmakers into the very sociological debates that they helped spark. Might a return to the situated experience of these theoretically and methodologically challenging people, who form workgroups and collaborate with each other repeatedly across projects as they craft their own careers, shed productive light on academic understandings of precarity, cultural production and indeed our increasingly confusing relationships with the objects around us? With that in mind, in this thesis I ask the following research question: how are networks of film production formed and maintained in Beirut? Based on an 'insider' ethnography of various film projects weaved into a mixed-methods social network analytic methodology, I adopt a relational sociological approach that conceives of production networks as akin to social worlds and find three analytic planes to delve deeper into: markets, objects and relationships. In relation to markets, I echo the argument that current classification systems of cultural production are too consumption-based and adopt a social network markets framework more sensitised towards production. Here, I find that the cyclical, project-based relationship of patronage that ties production networks to their clients is highly varied and contingent, shaping not only the process of cultural production but also its organisational structure. Further, I argue that the management of these contingencies is key to the potential repeat collaboration not just with clients (and their own social networks), but fellow producers as well. But past projects do not simply disappear once completed, they might well come back to haunt their makers. Drawing upon ethnographic and recent historical data on a number of web-series that emerged out of Beirut between 2009 and 2012, I compare using two-mode networks the past and more recent projects my interlocutors were involved in. Here, I find that one's past projects shape one's future by conducing or hindering their chances of finding new work. Moreover, and perhaps more importantly, I find that filmmakers (and those around them) increasingly define themselves (and are defined by others) in relation to the past projects they have done. Over time, though, as filmmakers collaborate on an increasing number of films, their relationships take on deeper characteristics than monochrome economic considerations. Here I draw upon the notion of embeddedness to shed light on emergent meaning at the network level across a number of projects and, therefore, the emergent social world-ness of networks. While the first set of findings relates to debates in the sociology of work and the second to those in the sociology of cultural production, my final analysis shows just how intimately the two are connected. I conclude by highlighting the potential of empirically-grounded relational sociological approaches to finessing our understandings of cultural work in its economic, social, but also material and technical contingencies.
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Dean, Jennifer Watson Reckley Vallejos Alice Ruth. "Chicanisma in film and literature Chicana filmmakers and authors (re)discovering and (re)presenting history and culture through films and novellas /". Diss., UMK access, 2004.
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Thesis (M.A.)--College of Arts and Sciences. University of Missouri--Kansas City, 2004."A thesis in liberal studies." Typescript. Advisor: Alice Reckley-Vallejos. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 23, 2006. Includes bibliographical references (leaves 189-198). Online version of the print edition.
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Xu, S. X. "Hong Kong cinema since 1997 : the response of filmmakers following the political handover from Britain to the People's Republic of China". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/350770/.
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This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. From that day onwards, Hong Kong cinema would no longer enjoy its previously unfettered and uninhibited revolutionary creativity and the Hong Kong film industry could thereby be perceived as being “in crisis”. In considering whether these predictions have actually come to pass, this thesis sets out to focus on exploring representative Hong Kong filmmakers’ activities and performances following Hong Kong becoming a Special Administrative Region (SAR) of the People’s Republic of China (PRC) from 1997 onwards. The exploration of the chosen filmmakers’ activities and performances includes examining the filmmaking practices that they have embraced and analysing the exhibition and distribution patterns adopted by the films that they have produced. The intention is to examine to what extent the political transition has shaped these filmmakers’ filmmaking practices and to observe the characteristics exhibited by the distribution and exhibition aspects of the films since the handover in order to specify any connection they may have with the momentous political handover. This thesis intends to show how Hong Kong cinema has responded to the challenges of an age of transition and globalisation through in-depth analyses of the activities of these key industry personnel that have elevated Hong Kong cinema’s position of regional and global popularity, and the commercially and critically significant films that they have made, covering the wider spectrum of genre, including those of action, comedy, realistic, horror and romantic drama. It is the aim of this thesis to present a new perspective that contributes to the study of post-colonial Hong Kong cinema.
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Shapiro, Amanda J. "You Only Live Twice: The Representation of the Afterlife in Film". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/280.
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The objective of this thesis is to examine and analyze the presentation of spaces, figures, and the processes of judgment in afterlife films. American and foreign titles as well as television series are assessed as afterlife films by two criteria: (1) A character has clinically died yet continues to exist and (2) a living character finds his or her self in an afterlife space. Films with characters that have near-death experiences (NDEs) are included in relation to the above three qualities. After screening nearly one hundred and thirty titles, I have found there is a basic formula structure that has been expanded and transformed into seven other structures, plus those that are combined for a unique narrative. The afterlife corpus is divided into five distinct eras by the quantity of releases that fluctuate in accordance with 20th and early 21st century cultural anxieties and technological advances. A secondary argument proposes why the afterlife story is perfectly suited to the film medium plus why the industry and audiences are incessantly drawn to the afterlife film premise. The afterlife film perpetuates universal and age-old questions on the significance of life and death in the guise of enticing sights and stories. Each afterlife film may have its own identifiable design and theme but they are connected to higher concerns of mortality and second chances.
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Ferrero-Regis, Tiziana, i n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999". Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.
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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions the texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectators have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is because film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history film within the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.
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Ferrero-Regis, Tiziana. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366053.
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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions the texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectators have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is because film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history film within the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
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Magallanes-Blanco, Claudia. "Video, a revolutionary medium for consciousness-raising in Mexico a dialogic analysis of independent video makers on the Zapatistas /". View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050622.151734/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2004.Thesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.
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Sonboli, Hassan. "Digital Docu-fiction: A Way to Produce Kurdish Cinema". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366037.
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This exegesis contextualises my feature-length film The Sultan and the Kings, a studio-based project produced for the Doctorate of Visual Arts.
As a Kurdish émigré and filmmaker who left Iran in 1997, lived in Turkey for a couple of years, then emigrated to Australia in 2000, I studied film and also continued the filmmaking practice that I had begun in Iran in 1988.
The exegesis examines the shortage of literature about Kurdish films, the misrepresentation of Kurdish filmmaking, the emergence of Kurdish cinema and the obstacles faced by it, as well as the emergence of Kurdish cinematic styles.
By considering how my film relates to Kurdish cinema overall, what is referred to as the “cinema under oppression” and the “cinema of diaspora”, this exegesis examines the development of a form of storytelling that I term digital docu-fiction, which blends elements of documentary, fiction and digital film manipulation. Through this form of practice, Kurdish filmmakers aim to take control of the whole process of filmmaking, from production to exhibition.
The exegesis discusses this form of storytelling with reference to the development of my own practice and aesthetic, using my short film A Woman with a Digital Camera as an example of digital docu-fiction.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of art
Arts, Education and Law
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Santiago, Arminda V. (Arminda Vallejo). "The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500765/.
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This study is an examination of Lino Brocka's development as a filmmaker of the New Cinema of the Philippines. It provides a close textual analysis of two recent Brocka films, Macho Dancer (1988) and Fight for Us (1989) using a sociocultural approach to the study of the representation of aspects of social reality and their relationship to contemporary Philippine society. The study is divided into six chapters: Chapter I contains the introduction to the study, Chapter II traces the development of Philippine cinema in relation to Philippine socio-political history, Chapter III describes the New Cinema film movement in the Philippines, Chapter IV provides a biographical sketch of Lino Brocka in which the development of his critical attitude, notions of social reality, and significant works are discussed, Chapter V contains the film analyses, and Chapter VI contains the conclusions to the study.
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Van, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.
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International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema.
This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena of contemporary women.s cinema at its intersection with the international film festival industry. The significance and original contribution of the research is its intervention in the growing field of film festival studies through a specific investigation of how international film festivals support emerging women filmmakers. The positioning of the research at the intersection of feminist film theory and festival research within the broader context of transnational cinema allows the examination of each festival, the attending filmmakers and their films to be addressed within a more refined and nuanced lens.
A core method for the thesis is the close textual analysis of particular emerging women filmmakers. films which are screened at the respective festivals. The research also utilises the qualitative research strategies of the case study and the interview to ¡°seek to understand the context or setting of the participants through visiting this context and gathering information personally¡± (Creswell 2003, 9). The textual analysis is used in dialogue with the interviews and the participant observational data gathering to provide a related context for understanding these films and their cultural meanings, both personally for the filmmaker and transnationally across the festival circuit.
The focus of the case studies is the Brisbane International Film Festival, the International Film Festival Rotterdam and the Toronto International Film Festival. These three festivals were chosen for their distinct geographical locations in the Asia Pacific, Europe and North America, as well as for their varying size and influence on the international film festival circuit. Specifically, I investigate the reasons behind why the organisers of a particular festival have chosen a certain woman.s film, how it is then packaged or displayed within the programme, and how all of this impacts on the filmmaker herself. The focus of my research is to investigate film festivals and their .real-life. applications and benefits for the filmmakers being supported, both through the exhibition of their films and through their attendance as festival guests.
The research finds that the current generation of emerging women filmmakers has varying levels of experience and success at negotiating the international film festival circuit. Each of the three festivals examined include and promote the films of emerging women filmmakers through a range of strategies, such as specific programming strands dedicated to showcasing emerging talent, financial support through festival funds, providing visibility within the programme, exposure to international audiences and networking opportunities with industry professionals and other filmmakers. Furthermore, the films produced by the emerging women filmmakers revealed a strong focus on women.s perspectives and experiences, which were explored through the interweaving of particular aesthetic and cinematographic conventions.
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Kupfer, Stephanie. "Female auteurs in evolution: the filmmaking of Claire Denis and Catherine Breillat". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6452.
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According to the latest Celluloid Ceiling Report, conducted by the Center for the Study of Women in Television and Film at San Diego State University, only 7% of all directors working on the top 250 films in the United States in 2014 were women. These bleak statistics no doubt replicate the condition of women in countless other national cinemas. It is, therefore, critical that more attention be given to the women who do manage to succeed in the male-dominated film industry. In my dissertation, I examine the work of two major French women filmmakers, Catherine Breillat and Claire Denis, who have resisted the kind of marginalization and even erasure of women’s presence which this data represents, achieving along the way distinction not just in the French, but in the global cinema context. I analyze their work primarily through the lens of auteur theory and the Cixousian notion of the feminine.
For the purpose of this work, I define an auteur as a filmmaker who has established a distinctive but evolving style as well as a set of thematic preoccupations across a significant number of films and a considerable span of time and whose films are recognizable no matter the subject they treat or the context in which they are made. At its inception, auteur theory signaled a radical break with the tradition of film adaptations and literary screenplays that either did not understand or did not care to exploit the specificity of the filmic medium. Yet, in spite of the revolutionary aspects of auteurism, it has remained somewhat regressive in its recognition of and engagement with gender problematics. The putative gender neutrality of auteurism is, in practice, an assumption of masculinity. Female film directors who achieve auteur status (a minority compared to the number of men given the same consideration) are then marked by their difference, they are not simply auteurs but female auteurs. While this designation is potentially limiting, I assert that it is, in fact, a valuable designation, since it has opened up a space for female filmmakers to rewrite dominant cultural narratives and from a feminine perspective. Claire Denis and Catherine Breillat consistently practice a feminine form of filmmaking, that is, filmmaking that opposes through form and representation, the logical, teleological narratives and adherence to patriarchal values associated with traditional filmmaking. While traditional, masculine filmmaking is designed to halt the proliferation of meaning, feminine filmmaking allows for ellipses, creates a space for the unsaid and the unknowable; it asks questions but does not answer them; it allows the reader or viewer to participate in the production of meaning. These are the kinds of films that Denis and Breillat are making and they need to be recognized for their exemplary artistic contributions as well as the space they have created for others to challenge the status quo in the film industry.