Rozprawy doktorskie na temat „Films and comics”

Recent years have witnessed an influx of superhero films, particularly those based on Marvel comics. From X-Men (2000) and Spider-Man (2002) to team-up mega-blockbuster The Avengers (2012) and Guardians of the Galaxy (2014), the stream of Marvel superhero adaptations is ongoing and relentless. These films have received modest academic attention; however, close examination of the specific portrayals of women in superhero films has remained sporadic. This thesis is the first work to cohesively consider representations of women in films based on Marvel comics, from The Punisher (1989) to more recent films such as Captain America: The First Avenger (2011). Through textual analysis which accounts for discursive, contextual and ideological issues surrounding these films, I discuss how representations of women in Marvel adaptations are informed by discourses of anxiety and struggle regarding gender issues in wider Western culture. The superhero boom occurred at a time which can be considered “postfeminist,” in which discourses of women’s “empowerment” are actively incorporated into media texts, while specific references to political feminism are shunned. Tracing historical and cultural contexts from the characters’ comic book forms, this thesis provides an exhaustive account of issues of women’s empowerment in Marvel films with particular emphasis on the ways in which postfeminist culture has shaped such portrayals. The films are considered within a wider action genre framework, drawing from existing scholarship in the field of feminist film studies. However, attention is also drawn to the role of sexuality and race within these largely white, heterosexual portrayals of feminine empowerment. Overall I consider the questions: How is power negotiated within female Marvel characters? How does an emphasis on sex appeal relate to feminist and postfeminist culture? How do these representations intersect with greater issues involving sexuality and race? And, importantly, in what ways do these representations tie in to modes of women’s empowerment in the time periods during which these films were released?

This paper explores the relation between the popular “Tintin” comics by the Belgian artist Hergé and Steven Spielberg’s successful film adaptation “The Adventures of Tintin” (2011) from a linguistic perspective. It explores how language use in the scriptovisual medium of the comic (which combines still images and printed text) is rendered in the audiovisual medium of film (which combines moving images and spoken language). After discussing general linguistic similarities between comics and films and the use of language in each of the two media, the paper compares the representation of voice, accent, thoughts, talking animals, sounds and written language in Spielberg’s screen adaptation to the original printed comic books. It analyses to what extent the language from comic books can be directly transferred to the filmic medium and investigates possible causes underlying any modifications in the above-mentioned domains.

Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.

This thesis delves into the surprisingly uniform treatment of the female character in comic storytelling, across all media, and will examine how this has evolved over time. It further explores what these changes represent for the stories, the characters, the creators, and the readers. The focus of the production aspects of this project is on the curation and development of a feminist perspective on comic books, their narrative and the industry that forms them. Looking at specific examples from historical and modern comics, as well as creative

This is a reflection paper on the process of creating a multi-media art installation that dismantles traditional, patriarchal notions of female coming-of-age stories in film and presents alternative, feminist narratives to these stories through the voices of the women present within the author's own life.

This thesis examines the shifts within mainstream British television animation between 1997 and 2010 and it discusses how British animation’s close relationship with live-action television comedy reveals a map of contemporary attitudes and tastes. The British animated texts in this period reacted to their shifting industrial and broadcasting landscape. The historical moment of the late 1990s was determined by the successes of the American animated sitcom The Simpsons, which profoundly affected the way British practitioners conceived of the medium’s capabilities within a mainstream television environment.

Placing archetypal "underdogs" or "losers" in the roles of protagonists allows and encourages the viewer to identify with them or understand them as an idealized Other, though the audience may differ from the failure protagonist in social class, gender, or any other condition. In film, one of the most persuasive and ubiquitous media of the 20th century, underdog and weakling characters germinated in early popular comedies such as those by Charlie Chaplin and the other silent clowns. Using Chaplin's filmography to illustrate the underdog's ironic supremacy, this thesis aims to unravel the initial values and expectations inherent in Hollywood underdog comedy films, trace these components to their paradoxical political and economic roots, and draw conclusions on their social and economic consequences.

This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the development of Hollywood’s blockbuster filmmaking paradigm. My approach combines models and concepts from studies of adaptation that employ poststructuralist theory. This theoretical framework explains transformations that content may undergo as it is adapted between the different forms available to comics and film, and enables examination of dialogues occurring in the vast networks of intertexts in which superhero blockbusters are situated. After my review of literature establishes the thesis’ theoretical underpinnings, my chapters undertake close textual analysis of three distinct case studies. The selection of case studies allows me to continue to develop my approach by examining different superhero archetypes, alongside significant contexts, trends and technologies that impact Hollywood blockbusters. Chapter one looks at the first superhero blockbuster, Superman: The Movie (1978). I begin by outlining, and exploring relations between, the range of Superman texts released prior to the film. Doing so reveals the qualities of the intertextual networks that comprise a superhero franchise. I then analyse the strategies that Superman: The Movie deploys to adapt and enter the network of Superman texts, before situating the film in the context of the emerging blockbuster paradigm in 1970s Hollywood. Chapters two and three analyse films produced in the twenty-first century, as superhero blockbusters gained a central position in Hollywood production. Chapter two evaluates the aesthetics of the Spider-Man trilogy (2002, 2004 and 2007) in relation to two contexts that are often considered to have facilitated the superhero blockbuster’s twenty-first century success: the increasing use and sophistication of digital filmmaking technologies in Hollywood, and the contemporary sociopolitical climate. Looking at the representation of bodies and space elucidates the ways in which the films incorporate digital filmmaking technologies into their adaptive practices and offer a sociopolitical commentary. Chapter three examines the strategies that films produced by Marvel Studios, with particular focus on team film The Avengers (2012), deploy to adapt the model of seriality that superhero comic books use to interconnect multiple series in a shared diegesis. The analysis focuses on ways in which The Avengers uses bodies and space to compress the expansive diegetic universe into a single film, and interrogates how these strategies shape the film’s sociopolitical meanings. My case studies demonstrate that the approach developed in this thesis illuminates the complex and equivocal meanings that the adaptive practices of superhero blockbusters generate.

This thesis explores the zombie’s rise to prominence in popular culture, with a focus on its development within the comics medium. The zombie is not just a ‘floating signifier’ (according to Jerrold E. Hogle), but a revenant signifier, actively and aggressively linking with existing concepts, and transforming them. The thesis also considers both the zombie figure and zombie genre within the parameters of several media – comics, television, film, and literature. The medium of comics is examined in detail as it has evolved through the influence of the zombie just as the zombie has been reshaped by each new representation. In contemporary horror comics, The Walking Dead series is not just commercially successful, it exploits properties of the medium (including panel arrangement, transitions, repetition, and the liminal space within the gutter) to thoroughly explore the metaphors and allusions that have been associated with the zombie. I discuss these metaphors by charting the zombie’s development. A lack of pre-twentieth century literary texts featuring this creature frustrates easy comparison with the monsters of Gothic fiction. Rather than evolving within the novel form, as its rival horror icons have done, the zombie has maintained a visual and visceral identity, maturing with each new incarnation, and becoming ever more gruesome: the walking corpses of ancient texts; a symbol of eternal slavery within Haitian Voodoo folklore; and its modern interpretation as violent and virulent monster. The recent notion of a zombie plague has redefined the creature as a representation of modern fears, and has led to ‘zombie apocalypse’ becoming a commonly-used fantasy scenario. The zombie’s connection to apocalyptic literature is simultaneously ancient and contemporary, with the creature being a signifier of social disorder and disrupted identity. While the emphasis throughout is on the shifting relations between media, comics are the main focus of this study. The symbolism present in the zombie, and the political and cultural ideas stemming from its slow maturation are revealed within The Walking Dead and sustained through the functions of the comics medium. Through the application of Scott McCloud’s comics theory, the closure between panels and the transition within the gutter enhance these ideas, and provide further understanding of the zombie as depicted in comics. The visual/textual relationship within comics is compared with Jacques Lacan’s modalities of consciousness, and the psychoanalytic reading provided here explores the crises of identity within the zombie, and within the fragmented narrative of the comics medium. Alternative psychoanalytic readings, and the physiology/pathology of the zombie itself are undertaken, revealing the creature to be responsive to Julia Kristeva’s concept of the abject, and Slavoj Zizek’s postmodern reworking of Lacanian ideas. The thesis also returns to notions of the Gothic, haunted spaces, and the role of suburbia in the zombie narrative. This is augmented with a study of intertextuality and the “revenant” status of the zombie, and of comics. Through incorporating the critical theory of Kristeva, Mikhail Bakhtin, and Jacques Derrida, and by positioning in parallel comics theorist Thierry Groensteen’s concepts of braiding and arthrology, I emphasise the operations of the zombie figure in the comic book, and other media, asserting that the zombie is a revenant signifier continually returning and transforming, never resting, but endlessly cannibalising and reconstructing debate about identity, morality, and society.

This thesis discusses the similarities in coming-out depictions in contemporary European cinema focusing on teenage and coming-of-age queer male characters. While based on understanding the coming out as a sociological phenomenon with strereotypical development, it allows for deviations both in reality and in film. The thesis further aims to identify common elements in films with coming-out narratives: repetitive narrative techniques, themes, characters and motives. Using the analyses of three films, the thesis also examines the importance of coming-out stories in broader film narrative.

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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

Chaque année en France, les films adaptés des œuvres littéraires forment une partie importante des sorties cinématographiques, parmi lesquelles nous remarquons souvent les films adaptés des pièces de théâtre comiques. En effet, dès sa naissance, le cinéma est lié étroitement au théâtre, surtout aux pièces comiques. Les cinéastes ont puisé leurs inspirations aussi bien dans les pièces classiques (L’Avare, La Fausse Suivante, Cyrano de Bergerac, etc.) que les pièces modernes (La Cage aux folles, Le Dîner de cons, Le Prénom, etc.), en passant par les vaudevilles (Un Chapeau de paille d’Italie, Un Fil à la patte, etc.), les café-théâtre (les pièces du Splendid) et les pièces de Sacha Guitry et de Marcel Pagnol qui ont vécu la prospérité du théâtre filmé. Le théâtre et le cinéma, tous deux arts de spectacle, partagent énormément de points communs et gardent également de nombreuses différences. Ils se mélangent, s’influencent et se critiquent. Les spectateurs regardent la représentation théâtrale avec une vision « cinématisée » sans en avoir conscience. À l’inverse, nous déployons la théâtralité dans chaque séquence de film. Dans le cadre comique, quelle est donc la relation entre le cinéma et le théâtre ? Les ressorts du comique de théâtre sont-ils les mêmes au cinéma? Quels effets donnent-ils ? L’étude de l’adaptation des pièces comiques de théâtre au cinéma dans la période définie par notre corpus nous permet de voir les principes du travail de l’adaptation et de saisir le changement de la relation entre le théâtre et le cinéma au fil du temps. Ce changement nous laisse entrevoir la procédure de maturation d’un jeune art — le cinéma. Les valeurs esthétiques que nous avons dégagées dans ce travail nous aideront à comprendre d’une façon profonde les arts de spectacle, tandis que la valeur sociale du film adapté nous fera réaliser la nécessité de ce travail d’adaptation
Every year in France, plenty of new movies are adapted from literary works, among them, we can often notice the films adapted from comic plays. Indeed, since its invention, the cinema is closely related to the theater, especially to the comic plays. The filmmakers try to find their inspiration in classic plays (The Miser, La Fausse suivante, Cyrano de Bergerac, etc.) as well as modern plays (La Cage aux Folles, Dinner of Fools, The First Name, etc.) but also in vaudeville (Un chapeau de paille d’Italie, Love on the Rack, etc.), in dinner theater (the plays of the Splendid) and in the plays of Sacha Guitry and Marcel Pagnol, who experienced the boom period of « théâtre filmé ». As two performing arts, theater and cinema share a lot of common points but have also many differences. They influence each other. The audience, unconsciously, watches the theatrical performance with a « cinématisée » vision. Conversely, we deploy theatricality in each sequence of the film. In the comic plays, what is the relationship between cinema and theater? Are the comic elements of theater the same as those in cinema? What effects do they give? The study of the adaptation of comic plays to the cinema in the period defined by our corpus lets us see the principles of adaptation and know the change in the relationship between theater and cinema. This change shows us the maturing process of a young art —the art of cinema. The aesthetic values that we have reveald in this work will help us understand the performing arts in a deep way, and the social value of an adapted film will let us realize the need of this adaptation

This study intends to evaluate the extent to which gender inequality permeates representation in the media. By drawing on the literature of feminist phenomenology I define subjectivity as the tendency of characters to interact with the world around them rather than merely have that world act upon them. I use the themes of sexual spectacle, motivation, and violence and protection to evaluate the gender differences among superbeing characters from the DC and Marvel franchises. Through the use of a qualitative content analysis this study has shown that the dichotomous gender hierarchy actively subordinates female superbeing characters through their diminished subjectivity. A character�s ability to act upon the world through act-break motivations, direct capacity for violence, and the protection of others defines them as subjects. Conversely, a character�s inability to do those actions as well as their instances of sexual spectacle and unmotivated sexual displays in costuming and gender performance relegates them to the role of object. The subjectivity score is used to more clearly show a definitive ranking of these characters. Female superbeing characters often hold negative scores. This means that their total deductions from categories that diminish their subjectivity, such as instances of sexual spectacle or revealing costumes, outweigh any points they earn from categories that award them more subjectivity, such as protection/rescuing others. The male characters hold double or triple the scores of their female counterparts, which perfectly highlights the gendered division of the attributes that inform subjectivity. By allowing superbeing characters to transcend gender dichotomy and engage with the full human spectrum of emotion and wellbeing, we could celebrate people as fully human and disrupt the gender normativity that maintains inequality.
Master of Science
Marvel and DC Comics are two of the most popular comic book companies in the US. They are responsible or the creation of well-known characters such as Superman and Iron Man. Within the last few decades the comics because popular film franchises. Both companies release several films every year from their respective cinematic universes. These are highly grossing movies and popular enough to have character costumes produced for purchase. Popular cultural phenomenon such as these film franchises provides an opportunity to study social topics such as gender inequality and heteronormativity. This study focuses on the on-screen depictions of these superbeing characters in order to establish a connection between gender and subjectivity in these super-human bodies. Subjectivity, defined by Iris Marion Young’s conceptualization of a feminist phenomenology uses the themes of motivated action, violence and protection, and sexual spectacle to determine if there is a gendered difference in the ways these characters are able to be super and how that impacts their overall subjectivity level. The data supports the theory that male superbeing character are allowed to be full subjects who are able to act upon the world while female superbeing characters are still relegated to the sphere of objectification.

The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.

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.

This thesis will prove how the male domestic servant shows a conservative evolution of class freedom through early American films. As an individual thrust into a liminal sphere, these characters paradoxically become a character type for both keeping class-consciousness as well as breaking up notions of class, albeit in a slow process. In comedy, domestic male servants have always been on duty to help their masters while also becoming sources of mischief as tricksters. In early American films, these characters embody the anxiety of a classless body of men who become scapegoats, trickster-figures, and mask-wearing sages in order to survive—attracting as many functions as possible in order to help society question notions of class. Although butlers and valets have existed for several centuries, the Victorian era molded the butler into a marginal existence, trapping this servant into a liminal, and therefore unlikable, sphere. Comedic writers in the Victorian era played the anxiety up—presenting butlers and valets as pompous and unintelligent scapegoats placed in texts to make their masters look good while becoming invisible themselves. Yet, by the time the stereotype reached America through P. G. Wodehouse, the butler became a trickster figure—ready to use the Victorian code as a way to gain monetary compensation and control of the private domain. Jeeves does in fact receive his desires, but he resorts back to set codes—becoming a character that subverts and maintains class structure simultaneously. Charlie Chaplin's butler in City Lights does the same in film. As the overly serious foil, Chaplin's butler controls the class hierarchy by keeping Chaplin away from his master; yet, the butler does this by copying his master's actions, putting himself on the same level as his master. It is only through Sturges films that butlers become relatively free from subordination and even more multivalent as these films delve into class reality versus desire. These butlers and valets continue to play the part of the Victorian butler, but they also become the pivotal characters that move plots in their intended course—becoming fatherly and less anxiety-ridden—creating a freedom unknown to their predecessors.

The aftermath of World War II witnessed large-scale military demobilisation and. in its wake, a vast influx of returning servicemen. Their homecoming signalled a transition from military to civilian life which was often described as 'readjustment.' The term is usually taken to imply a process of homogenisation which engendered a condition of conformity in ex-servicemen and, by extension, in society at large. This thesis argues against this view and demonstrates that 'readjustment' wasn't intended to reproduce conformity but, on the contrary, was to provide the means for the reconversion of the 'conformist' ex-serviceman into the independent, autonomous citizen necessary for the functioning of a democratic society, especially in contradistinction to the conformism associated with the totalitarian Other. It was assumed that servicemen had become habituated to the military's authoritarian regimen of regulation and command which subsumed individuality. Hence, 'readjustment' was concerned with the 'nonconformist' individual who would become indispensable to a postwar' Americanism' which was being defensively constructed against totalitarianism and, moreover, against the 'totalitarian' implications of a conformism often seen as endemic in America as a mass society. This study recontextualises postwar film narratives (1945-48) in relation to the discourse of 'readjustment' and, by treating 'conformity' as a complex, contradictory and unreliable term, it problematises 'readjustment' and its role in the construction of postwar 'conformity.' The thesis draws methodologically on Michel Foucault's work on discourse theory, and Dana Polan's approaches to 1940s' narrative and social history. The study comprises two principal areas of research: part one analyses the sociological construction of 'readjustment,' and part two examines how 'readjustment' and its ramifications were refracted through film narrative. The film readings acknowledge the incoherence and instability implicit in the title's key terms through an approach which highlights narrative inconsistency, ambivalence and contradiction, and which works to disturb the notion of postwar social history as a stable, coherent narrative.

The goal of this thesis is to explore the way heterosexism and homophobia are present in the coding that has created an implied and monstrous queer identity for the Joker, present in many versions of the character over the past forty years. Through close readings of several of the Joker’s most iconic appearances, queer theory texts, and analytical essays on pop culture, this paper will analyze the use of queer signifiers present in the comics and the way that these portrayals of the Joker are rife with harmful and heterocentric perceptions of what comic creators have seen as necessary signifiers for queerness. Additionally, I will be using knowledge gleaned from my own preexisting work with fan and cultural studies in order to talk about the way that this portrayal of the Joker has been developed within fandom/fan communities and how it is continually replicated in superhero media.

This study examines the role of nostalgia in contemporary Quebec cinema through the analysis of two recent coming-of-age films set in the 1960s: Maman est chez le coiffeur (Léa Pool, 2008) and C'est pas moi, je le jure! (Philippe Falardeau, 2008). While the "nostalgia film" has been roundly criticized for promoting a superficial engagement with history, and a dangerous withdrawal from the present, I argue that in the context of Quebec, it should be understood as performing important critical work. Given the long and influential ties between the coming-of-age film, the family romance, and filmic nostalgia in Quebec to the national imaginary, I argue that these films reflect broader shifts in the state of cultural memory. Far from foreclosing a consideration of the future, films that creatively re-imagine the past enable new and empowering engagements with it. With these issues in mind, I go on to argue for a more measured consideration of the potential of nostalgia itself.
Cette étude examine le rôle de la nostalgie dans le cinéma québécois contemporain à travers l'analyse de deux films de 2008 sur le passage à l'âge adulte, dont l'action se déroule dans les années soixante : Maman est chez le coiffeur (Léa Pool, 2008) et C'est pas moi, je le jure ! (Philippe Falardeau, 2008). Alors que les films nostalgiques et la nostalgie elle-même sont vivement critiqués pour prétendument favoriser un rapport superficiel à l'Histoire et un dangereux détachement vis-à-vis du présent, cette Thèse soutient que dans le contexte du Québec, les films traitant du passage à l'âge adulte et de la nostalgie entretiennent de longue date des liens influents avec l'imaginaire collectif et qu'ils doivent être considérés comme porteurs d'un important travail critique. En outre, ces films reflètent les changements profonds advenus dans la mémoire culturelle du Québec et, loin d'empêcher une prise en compte de son avenir, donnent plus de raisons encore de s'engager au regard de celui-ci. Sur la base de ces observations, cette Thèse développe une argumentation en faveur d'une plus juste appréciation du potentiel de la nostalgie elle-même.

This dissertation examines the coming of sound film in Sweden during the years 1928–1932, and the reception of mechanically recorded sounds both in the trade press and among audiences. The novelty of sound film opened up for a negotiation of the perception of sound and image, as it made visible the film medium’s technological construction, before this visibility was once more absorbed by the cinematic discourse. The conversion to sound film is considered from three perspectives -- technology, reception and practice -- as well as through the concept of intermediality, focussing how the audio-visual expression changed during this period. Chapter 1 “Image, Sound, Audience I: ‘Constructed’ sounds - the visibility of technology” deals with these issues prior to the conversion to sound, and the following intermediate years, until sound film had reached a certain equilibrium. Chapter 2 “Production – The Companies” deals with the production and the major Swedish sound companies. Particular attention is given to how formative music in their films transforms itself into a consistent use of non-diegetic music two years before this happened in Hollywood. Chapter 3 “Reception – The Cinemas” addresses the topic of the reception of the first sound films in Sweden during 1929. The argument is that the audience’s re-awakened awareness of the technology described in Chapter 1 was an active part in this process, and that their reactions led back into the advertising campaigns, making them participants in the cinematic event. Chapter 4 “Practice – The Musicians” continues this debate from a musician’s point of view. This chapter turns the focus upside down and looks at the arrival of sound film from a grass-roots perspective. While chapter 4 diverts somewhat in dwelling on issues that do not strictly deal with the conversion to sound, it serves to contextualise a technological invention that changed not only film production and reception, but also had very concrete social repercussions for those that created the sounds of music. Chapter 5 “Image, Sound, Audience II: ‘Authentic’ sounds - the disappearance of technology” dovetails with Chapter 1, addressing similar phenomena at a time when these had become fully integrated and the technology once more became invisible.

Includes bibliographical references (leaves 43-44).
A 26-minute docu-comedy product of my studies in film and television production, The Traveling Jewish, captures improvised moments of social interaction through documentary filming style. Through filming, editing, animation and music, it becomes an entertaining half-hour of television and social commentary. It is with each cut, layer, added graphics, omitted sound or musical accompaniment, that the viewer is guided into the cultural understanding and comedic inclination of the creator of such a piece. In doing so, I believe we are opening up a new genre of Television, the Docu-Comedy, which aims to explore comedy in site-specific landscapes, through primarily improvised scenes, using the discretion of the director to do otherwise when narrative comprehension is at risk. In this way humor exists in a way not often exploited on television. As humor serves as a forum to bring to the attention of society activities, beliefs, morals, etc., at the same time challenging their validity or even ethical realities, its mere existence is often seen as a sign of the health of a society. This paper looks at all the technical and theoretical elements of such a proposal.

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This research investigates the existent relations between digital transposition phenomenon and transmedia on a mutual influence context of comic book and game culture and its repercussions on digital storytelling structures. The methodological proposal is to read and deepen the relations between different concepts in search of its understanding process as a digital culture phenomenon, identifying as an historical action previous to transmedia storytelling: the transmediatic jump. For this, it uses superheroes, characters born in comic books at the beginning of the twentieth century, to show this path and the passage from the concept of transformation by the transmediatic jump to the transposition phenomenon and the transmedia object. It also show that the model object has philosophical, psychological, cultural and ontological features that made them leading figures on the modern entertainment industry that only exists on transmedia plurality. The research done is theoretical, as it s a study that looks forward to concept rebuilding and to enhance theoretical fundaments. The utilized method is bibliographic research, using prevailing materials about the theme, such as: Scott McCloud and Will Eisner as the main references about comic books structure and language; Gerard Jones research as the most used source about superheroes and its creators History; Joseph Campbell points the mythological way and Richard Reynolds connect it to superhero, central to comprehend storytelling that flows from a media support to other; and Janet Murray is the perfect complement to understand how this structures works at the digital game environment. This is how the superheroes transmedia jump, comics-movie-game, discussion base is formed
A pesquisa investiga a relação entre os fenômenos digitais da transposição e transmídia no contexto da mútua influência entre a cultura dos HQs e games e suas repercussões nas estruturas narrativas digitais. Metodologicamente propõe a leitura e o aprofundamento das relações entre os conceitos buscando o seu entendimento de processo enquanto fenômeno da cultura digital, identificando- os em uma ação história anterior à narrativa transmídia: o salto transmidiático. Para tanto, utiliza-se do movimento e história dos super-heróis, personagens nascidos nas histórias em quadrinhos (HQs) no início do século XX, para demonstrar este caminho e passagem do conceito de transformação do salto transmidiático para o fenômeno da transposição e o objeto transmídia. Mostra ainda que o objeto modelar (HQs) possui características filosóficas, psicológicas, culturais e ontológicas que os tornaram protagonistas da moderna indústria do entretenimento, a qual não existe senão na pluralidade transmídia. A pesquisa realizada é teórica, pois se trata de um estudo com vistas a reconstruir conceitos, para a melhoria de fundamentos teóricos. O método utilizado é a pesquisa bibliográfica, utilizando os materiais existentes acerca do tema, sendo: Scott McCloud e Will Eisner as principais referências sobre a estrutura e linguagem das HQs; os estudos de Gerard Jones a fonte mais utilizada no tocante à História dos superheróis e de seus criadores; Joseph Campbell indicando o caminho mitológico e Richard Reynolds conectando essa visão aos superheróis, fundamental para compreender as narrativas que seguem de um suporte midiático a outro; com Janet Murray sendo o complemento perfeito para o entendimento do funcionamento dessas estruturas no ambiente do game digital. Forma-se assim a base para a discussão do salto transmidiático dos super-heróis: HQ-Filme-Game

Words on a page are insufficient vehicles for complex ideas. When images and words appear together on the page, as in comics, the process of meaning-making through narrative functions more efficiently. Building on this idea, we must establish a “graphic narratology” to understand the process whereby meaning is transmitted. Analysis of narratological conventions, as well as the conventions of mass-market comics, provides a framework for this new narratology.

Includes bibliographical references.
Ever since filmmakers started making non-fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Today television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of people working in a team. The question in this study is how a film can still be truthful, fair and relevant for viewers despite a clear bias on the part of the filmmaker. Michael Rabiger, Stella Bruzzi, and Sheila Bernard gave great insight into the importance of fairness toward participants, while the P.O.V series aired on PBS in the US show how to make films from a particular point of view to stimulate debate. Based on this I will argue that it is possible for a filmmaker to hold a particular view and to still make a film that is fair and accurate.

Thesis (M.F.A.)--University of New Orleans, 2003.
Title from PDF title page (viewed on Apr. 5, 2005). "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications." Vita. Includes bibliographical references (p. 72-93).

L’hybridation, phénomène omniprésent dans de nombreux domaines, a particulièrement influencé l’évolution du cinéma. Alors que les premières générations de cinéastes semblaient avoir tout inventé de ce nouvel art, le cinéma n’a cessé d’emprunter aux dernières technologies et aux dernières formes d’expressions artistiques, à mesure que se mettaient en place des média de plus en plus présents dans la vie quotidienne. L’étude des passerelles qui se multiplient au fil des décennies, permet de cerner les mécanismes qui concourent à l’abolition progressive des frontières entre les média et les disciplines artistiques. Toutefois, la présente recherche ne se borne pas à scruter ces seules œuvres issues des dernières technologies, mais elle se réfère aussi aux pionniers avant-gardistes des années 1920 qui ont posé les bases de l’hybridation. Elle est donc structurée selon deux grands axes : d’une part l’axe historique, l’histoire du cinéma étant profondément marquée par les vicissitudes de notre temps, et d’autre part l’axe de la pluridisciplinarité, incluant les diverses formes d’expressions artistiques et les divers média. Plus spécifiquement, dans le foisonnement de la production cinématographique, la présente étude se propose de faire le point sur la situation du cinéma hybride au tournant du siècle, à partir d’un corpus constitué de douze films produits en France, aux U.S.A. , au Canada et au Japon, entre 1983 et 2004, et auxquels fait pendant Metropolis de Fritz Lang [1927]. Enfin, comme on pourra le constater, cette enquête s’est inspirée des nombreuses et pertinentes études et comptes-rendus qui l’ont précédée
Hybridisation, which is overwhelmingly present in many fields, has particularly influenced the evolution of cinematographic art. Although the first generations of film-makers seemed to have invented everything in this new art form, the cinema has always borrowed from the most modern technologies and the latest forms of artistic expression, while at the same time the media were taking up a larger and larger place in our everyday lives. The study of the links between them, which multiplied over the decades, allows us to understand the mechanisms contributing to the gradual abolition of the dividing lines between the media and artistic disciplines. However, the present research is not limited to the examination of works resulting from the most recent technological developments, since it also refers back to the avant-garde pioneers of the 1920’s, who set the basis for hybridisation. It is therefore centered around two main axes : on the one hand, the historical axis since cinema history has been profoundly marked by the vicissitudes of our time, and on the other hand the pluridisciplinary axis, including diverse forms of artistic expression and various media. More specifically, amid the wealth of cinematographic productions, this study proposes to take stock of the state of hybrid cinema at the turn of the century, using a corpus composed of 12 films, made in France, the United States, Canada and Japan between 1983 and 2004 and which go hand in hand with Fritz Lang’s Metropolis [1927]. Finally, it can be seen that this study has been inspired by the numerous and pertinent works and reports which have preceded it

Les liens qu’entretient le cinéma avec les journaux illustrés ont été perçus très tôt par les observateurs. Or, si les historiens semblent s’accorder sur une « influence » de la presse illustrée sur la production comique du cinéma français, les journaux humoristiques s’intéressent peu au cinéma de manière générale et ignorent complètement, ou presque, les films comiques. Comment expliquer ce phénomène ? Cette thèse propose de développer trois pistes de réflexion. En premier lieu nous tentons d’appréhender la manière dont la presse illustrée a perçu l’émergence et l’essor du spectacle cinématographique au tournant du XIXe siècle jusqu’au milieu des années 1910. Pour la plupart des chroniqueurs le spectacle cinématographique apparaît comme un intrus parmi les spectacles scéniques parisiens, déportant en quelque sorte la rivalité entre théâtre et cinéma dans la presse illustrée. Puis, en nous intéressant aux proximités entre films et journaux, il apparaît que le cinéma emprunte aux journaux autant qu’il recycle leurs histoires comiques, les modernise. Cela nous conduit enfin à envisager les deux médias sous l’angle de leurs divergences, à la fois idéologiques et politiques, empêchant une rencontre qui semblait pourtant à première vue inévitable
The links between the cinema and the illustrated press were perceived very early by the observers. Now, if historians seem to agree on an "influence" of the illustrated press on the comic production of French cinema, humorous newspapers are not very interested in cinema in general and completely, or almost completely, ignore comic films. How to explain this phenomenon ? This thesis proposes to develop three lines of thought. First, we try to understand the way in which the illustrated press saw the emergence and growth of the film show at the turn of the 19th century until the mid-1910s. For most chroniclers the cinema appears as an intruder among the Parisian stage shows, deporting in a way the rivalry between theater and cinema in the illustrated press. Then, by looking at the proximity between films and newspapers, it appears that cinema borrows from newspapers as much as it recycles their comic stories, modernizes them. This leads us finally to consider the two media from the angle of their differences, both ideological and political, preventing a meeting that seemed at first sight inevitable

The teenage daughter of a summer camp slasher, trained to kill sexually active adolescents, questions her father’s work when the camp she’s assigned to terrorize hands out bibles instead of condoms. That’s right, it’s a Christian camp.

This thesis will discuss the making of my short film The Water Clock at the University of New Orleans from its inception to its final short film form. Part One discusses the balancing of content and style and explores the relation between time and water as inspirations for story. Part Two details the preproduction process and major crew members’ collaborations and contributions before filming. Part Three describes daily successes, struggles, and direction while in production. Part Four describes every phase of the post-production process as the film is completed. Lastly, I will analyze my personal growth as a filmmaker.

This thesis examines the depiction of warfare in post-9/11 ancient world epics and assesses the extent to which these films engage with contemporary events by means of allegory and analogy. Inspired by scholarship on allegorical and analogous interpretations of 1950s-60s ancient world epics, I explore how the current cycle engages with the American socio-political landscape in the wake of 9/11, with particular emphasis on the War on Terror and ensuing conflicts in Iraq and Afghanistan. I chart the genre’s evolution in relation to the combat film, and examine how the current cycle of ancient world epics integrates the tropes of other genres into its portrayal of warfare, invasion, occupation and imperialism. Within this context, I explore the recurrent motif of the father-son dynamic, and assess how its use in combat films corresponds to that in ancient world epics. I also discuss how this motif was employed in 1980s Vietnam War films, and what its use in these modern epics suggests about the conflicts in Iraq and Afghanistan. Furthermore, I discuss the use of the unreliable narrator to engage with wider debates on the value of historical films compared to written history. The aim of this study is to demonstrate that the ancient world epic is a malleable construct with which filmmakers can engage with the present while depicting the past. I build on existing studies of the ancient world in cinema, contributing new understanding of the current cycle’s relationship to its predecessors, to other genres, and to post-9/11 American society. In so doing this thesis contributes to notions of film as art, as industry, and as history, and how they intersect in cinematic depictions of the ancient world.

This paper describes the making of It’s Me, Sarah, a University of New Orleans thesis film. It explores the process of creating the film in three parts. Part one will examine the pre-production, including the writing and preparation for the shoot. Part two will detail the production, including the shooting affairs. Part three will cover the post-production process, which will include the editing. The document will then reference these three segments regarding the film’s theme and will conclude by evaluating whether the final film achieves its intended conception.

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The master thesis for the achievement of the academic status master of science in international management (MPGI) will aim to solve the research question of how institutional voids affect the entry decision-making process of foreign venture capital firms coming to Brazil. This is a timely matter since in the past years there has been a sudden eruption of foreign VC involvement in Brazil. Based on the actionable framework by Khanna and Palpeu (2010) we conducted quantitative as well as qualitative research with two sets of interview partners in a two-phase analysis. We interviewed experts from VC firms, foreign VC firms based in Brazil and perspective VC firms that are looking to come to Brazil. We started with the former, derived lessons learned and analyzed how they affect the latter in reaching a decision. As we expected we found that depending on the industry that ventures are in, institutional voids can either pose an opportunity or a threat and hence attract or push away potential VC firms entering Brazil. Opportunities exist especially when exploiting institutional voids, for example through ventures in the marketplace efficiency. Threats are posed by investments in for instance hard infrastructure, where the economic, political and judicial systems as well as corruption and bureaucracy play demanding roles.
A tese de mestrado para a realização do acadêmico estado Master of Science in International Management (MPGI) terá como objectivo resolver a questão de como vazios institucionais afetar a decisão entrada de empresas de capital de risco estrangeiro que vêm ao Brasil a pesquisa. Esta é uma matéria oportuna uma vez que nos últimos anos tem havido uma súbita erupção de envolvimento VC estrangeiros no Brasil. Com base no quadro acionável por Khanna e Palpeu (2010) realizamos quantitativa bem como qualitativa re-pesquisa com dois conjuntos de parceiros de entrevista em uma análise em duas fases. Entrevistamos especialistas de empresas de VC, VC empresas estrangeiras sediadas no Brasil e as empresas de capital de risco perspectiva que estão olhando para vir ao Brasil. Começamos com as antigas lições aprendidas, derivados e analisados como eles afetam o último em chegar a uma decisão. À medida que experado descobrimos que dependendo da indústria que estão em ventures, vazios institucionais pode representar uma oportunidade ou uma ameaça e, portanto, atrair ou afastar potenciais empresas de capital de risco que entram Brasil. As oportunidades existem, especialmente quando explorando vazios institucionais, por exemplo através de empreendimentos na eficiência de mercado. Ameaças provenientes de investimentos em infraestrutura para o disco exemplo, onde os sistemas econômicos, políticos e judiciais, bem como a corrupção ea burocracia desempenham papéis exigentes.

The aim of this thesis is to analyse whether gender diversity on the decision-making bodies of Spanish listed companies may influence the decisions made by these bodies. To achieve this general goal, we propose four specific objectives. The first aim is to analyse whether gender diversity on Audit Committees (hereinafter AC’s) impacts on the financial reporting quality, measured in terms of the type of opinion issued by external auditors in their audit reports. We analyse unqualified and qualified audit opinions. Moreover, the qualifications are divided into two groups: (1) errors, non-compliance and the omission of information and (2) uncertainties. Gender diversity is defined as the presence of women on AC’s; the percentage of women making up AC’s; the number of executive, institutional and independent women on AC’s; and the number of AC’s chaired by women. After controlling for other audit report qualifications-related factors, the results do not show a negative association between gender diversity on AC’s and the probability of receiving qualifications with errors, non-compliance and the omission of information, but we do find a significant and positive relationship between the number of AC’s chaired by women and the likelihood of disclosing qualifications with uncertainties, suggesting that having chairwomen on AC’s would enhance the financial reporting quality. The second aim of this thesis is to analyse whether a gender wage gap exists among boards of directors (hereinafter BD’s) of companies listed on the Madrid Stock Exchange from 2004 to 2011. We hypothesize that the percentage of female directors on BD’s, the presence of female directors on Nomination and Compensation Committees, the presence of well-qualified independent female directors on BD’s, the sector and the geographical region have an effect on the gender wage gap. The results show that the percentage of female directors on BD’s and the geographical region have no effect on the gender wage gap. On the other hand, the findings report that the presence of women on the Nomination and Compensation Committee increases the gender gap in pay and it is reduced when the BD includes independent female directors who have gained a degree and when the company operates in the finance and real estate services sector. In addition, the results demonstrate that the seniority of the female director decreases the gender gap in pay, while there is a rise when the companies are bigger and the size of the BD and the return on assets increase. Thus, these conclusions should encourage regulatory bodies to adopt forceful rules in order to mitigate the gender gap in pay. The third objective is to examine whether gender diversity on BD’s influences the voluntary formation of their board sub-committees. Concretely, we hypothesize that the number of women on BD’s, the percentage of independent, executive and institutional female directors on BD’s, the percentage of shares held by female directors on BD’s and the remuneration of female directors on BD’s have an effect on the voluntary creation of board sub-committees. The results show that the number of women on BD’s only encourages the voluntary creation of an Executive Commission, while the percentage of independent women on BD’s increases the voluntary creation of all or some of their board sub-committees and the Committee for Supervision and Control. The percentage of female executive directors on BD’s reduces the likelihood of creating an Executive Committee. Furthermore, the percentage of institutional female directors on BD’s reduces the formation of all or some of their board sub-committees. Female directors on BD’s, who hold shares, exert a positive influence on the voluntary formation of an Executive Committee. Finally, the findings reveal that the compensation of female directors on BD’s does not contribute to the voluntary creation of all or some of the board sub-committees or to the formation of an Executive Committee and a Committee for Supervision and Control. Finally, the fourth objective of this thesis is to study the impact of gender diversity on BD’s on the dividend policy. We hypothesize that the percentage of female directors, the percentage of independent, institutional and executive female directors and the percentage of shares held by female directors on BD’s have an impact on the dividend payment. Our results show that the percentage of female directors and the percentage of shares held by female directors on BD’s are positively associated with the dividend payout, while the percentage of institutional female directors on BD’s has a negative impact on the dividend payment. The percentage of independent and executive female directors has no effect on the dividend payout. The economic effects of the gender diversity in companies have experienced increased interest in the financial and accounting disciplines in recent years, being largely the contributions relating to the relation between gender diversity and some aspects of the companies (Erhardt et al., 2003; Adams and Ferreira, 2009; Kulich et al., 2010; Van Pelt, 2013). The introduction of gender diversity to AC’s and BD’s has an important role in the decision-making bodies of Spanish firms. Our evidence supports Act 3/2007 of 22 March, about equality of gender on Spanish decision-making bodies, which requires Spanish listed firms to achieve a gender quota of 40% on BD’s from 2007 to 2015, since AC’s chaired by women increase the likelihood of disclosing qualifications with uncertainties, gender diversity on BD’s has an impact on the gender gap in pay, board diversity increases the board sub-committees and women’s presence on BD’s has an impact on the dividend policy. In sum, women have had to overcome external and internal barriers to obtain top positions in firms and exert a great impact on corporate governance. Nevertheless, the results show that there is a limited presence of female directors in high positions in companies; consequently, the progress made is still too slow to meet the government’s 2015 target of achieving a gender quota of 40% on corporate boards. For this reason, it is recommendable that stronger government sanctions combined with more effective equality plans within companies are required for the quota to be met and it is also necessary to continue to conduct research about gender diversity in decision-making bodies, considering that gender diversity affects the functioning and efficiency of AC’s and BD’s.
La idea de esta tesis es analizar si la diversidad de género en los órganos de decisión de las empresas cotizadas españolas puede influir en la toma de decisiones de estos órganos. Para alcanzar este objetivo general, proponemos cuatro objetivos específicos. El primer objetivo es analizar si la diversidad de género en los Comités de Auditoría (de aquí en adelante, AC’s) tiene un impacto en la calidad de la información financiera, medida como el tipo de opinión que emiten los auditores externos en los informes de auditoría. Analizamos los informes de auditoría con y sin salvedades. Además, las salvedades están divididas en dos grupos: (1) errores, incumplimiento y omisión de información y (2) incertidumbres. La diversidad de género se define como la presencia de mujeres en los AC’s; el porcentaje de mujeres en los AC’s; el número de mujeres ejecutivas, institucionales e independientes del AC y el número de AC’s presididos por mujeres. Después de controlar otros factores del informe de auditoría relacionados con las salvedades, los resultados no muestran una asociación negativa entre la diversidad en los AC’s y la probabilidad de recibir salvedades por errores, incumplimientos y omisión de información, pero encontramos una relación positiva entre el número de AC’s presididos por mujeres y la probabilidad de publicar salvedades por incertidumbres, esto sugiere que tener mujeres presidentas en los AC’s mejoraría la calidad de la información financiera. La segunda idea de esta tesis es analizar si existe una brecha salarial por razón de género en los Consejos de Administración (en adelante, BD) de las empresas cotizadas de la Bolsa de Valores de Madrid desde 2004 a 2011. Nuestra hipótesis es que el porcentaje de mujeres en el BD, la presencia de mujeres en el Comité de Nombramientos y Retribuciones, el nivel de formación de las mujeres independientes del BD, el sector y la localización geográfica tienen un efecto en la brecha salarial por razón de género. Los resultados muestran que el porcentaje de mujeres en el BD y la zona geográfica no tienen efecto en la brecha salarial por razón de género. Por otra parte, los resultados indican que la presencia de mujeres en el Comité de Nombramientos y Retribución incrementa la brecha salarial por razón de género y esta se reduce cuando en el BD hay mujeres independientes que han adquirido un grado y cuando las empresas operan en el sector financiero e inmobiliario. Además, los resultados también demuestran que la antigüedad de las consejeras disminuye la brecha salarial por razón de género, mientras que hay un incremento cuando las empresas son más grandes y el tamaño del BD y los rendimientos de los activos aumentan. Por lo tanto, estas conclusiones deberían incentivar a los organismos reguladores a adoptar normativas más contundentes para mitigar la brecha salarial por razón de género. El tercer objetivo es examinar si la diversidad de género en los BD’s influye en la formación voluntaria de Comisiones Delegadas del consejo. Concretamente, nosotros suponemos que el número de mujeres del BD, el porcentaje de mujeres independientes, ejecutivas e institucionales de los BD’s, el porcentaje de acciones en manos de las mujeres del BD y la remuneración de las mujeres del BD tienen efecto sobre la creación voluntaria de Comités Delgados. Los resultados muestran que el número de mujeres en los BD’s solo fomenta la creación voluntaria de una Comisión Ejecutiva, mientras que el porcentaje de mujeres independientes del BD incrementa la creación voluntaria de todas o algunas de las Comisiones Delegadas del consejo y los Comités de Supervisión y control. El porcentaje de mujeres ejecutivas del BD reduce la probabilidad de crear una Comisión Ejecutiva. Además, el porcentaje de mujeres institucionales del BD reduce la formación de todas o algunas de las Comisiones Delegadas del consejo. El porcentaje de acciones en manos de las mujeres del BD ejercen una influencia positiva en la formación voluntaria de una Comisión Ejecutiva. Para finalizar, los resultados revelan que la retribución de las mujeres del BD no contribuye a la creación voluntaria de todas o algunas de las Comisiones Delegadas del consejo, ni a la formación de una Comisión Ejecutiva ni a la creación de una Comisión de Supervisión y Control. Finalmente, el cuarto objetivo de esta tesis es estudiar el impacto de la diversidad de género en los BD’s y la política de dividendos. Nosotros suponemos que el porcentaje de consejeras, el porcentaje de mujeres independientes, institucionales y ejecutivas del BD, y el porcentaje de acciones de las mujeres del BD tienen un impacto en el pago de dividendos. Nuestros resultados muestran que el porcentaje de mujeres y el porcentaje de acciones en manos de las mujeres del BD esta positivamente asociado con el pago de dividendos, mientras que el porcentaje de mujeres institucionales del BD tiene un impacto negativo en el pago de dividendos. El porcentaje de mujeres independientes y ejecutivas del BD no tiene un efecto en el pago de dividendos. El efecto económico de la diversidad de género en las empresas ha incrementado el interés de la disciplina financiera y contable en los últimos años, siendo extensas las contribuciones obtenidas sobre la relación entre la diversidad de género y algunos aspectos de las empresas (Erhardt et al., 2003; Adams and Ferreira, 2009; Kulich et al., 2010; Van Pelt, 2013). La introducción de la diversidad de género en los AC’s y BD’s tiene un papel importante en las órganos de decisión de las empresas españolas. Nuestra evidencia apoya la Ley 3/2007 de 22 Marzo, sobre la igualdad de género en los órganos de decisión españoles, que exige a las empresas cotizadas españolas alcanzar una cuota de mujeres del 40% en los BD’s desde 2007 hasta 2015, ya que los AC’s presididos por mujeres incrementan la probabilidad de divulgar salvedades con incertidumbres, la diversidad de género en el BD tiene un impacto en la brecha salarial por razón de género, la diversidad del consejo incrementa la creación de Comités Delegados y la presencia de mujeres en los BD’s tiene un impacto en la política de dividendos. En resumen, las mujeres han tenido que superar barreras internas y externas para conseguir altos cargos en las empresas y proporcionar un gran impacto en el gobierno corporativo. Sin embargo, los resultados muestran que hay una limitada presencia de mujeres en los altos cargos de las compañías, y en consecuencia, los avances son todavía demasiado lentos para alcanzar una cuota de mujeres del 40% en los BD’s. Por esta razón, se recomiendan fuertes sanciones gubernamentales combinados con más planes de igualdad efectivos dentro de las empresas necesarios para conseguir la cuota establecida y también es necesario continuar investigando acerca de la diversidad de género en los órganos de decisión, considerando que la diversidad de género afecta al funcionamiento y la eficiencia de los AC’s y BD’s.