Rozprawy doktorskie: „Madame de... (Motion picture)”

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Li, Chun-hoi Benjamin, i 李俊海. "Madame butterfly and orientalism". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952732.

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Li, Chun-hoi Benjamin. "Madame butterfly and orientalism". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.

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Kokaram, Anil Christopher. "Motion picture restoration". Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/256798.

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This dissertation presents algorithms for restoring some of the major corruptions observed in archived film or video material. The two principal problems of impulsive distortion (Dirt and Sparkle or Blotches) and noise degradation are considered. There is also an algorithm for suppressing the inter-line jitter common in images decoded from noisy video signals. In the case of noise reduction and Blotch removal the thesis considers image sequences to be three dimensional signals involving evolution of features in time and space. This is necessary if any process presented is to show an improvement over standard two-dimensional techniques. It is important to recognize that consideration of image sequences must involve an appreciation of the problems incurred by the motion of objects in the scene. The most obvious implication is that due to motion, useful three dimensional processing does not necessarily proceed in a direction 'orthogonal' to the image frames. Therefore, attention is given to discussing motion estimation as it is used for image sequence processing. Some discussion is given to image sequence models and the 3D Autoregressive model is investigated. A multiresolution BM scheme is used for motion estimation throughout the major part of the thesis. Impulsive noise removal in image processing has been traditionally achieved by the use of median filter structures. A new three dimensional multilevel median structure is presented in this work with the additional use of a detector which limits the distortion caused by the filters . This technique is found to be extremely effective in practice and is an alternative to the traditional global median operation. The new median filter is shown to be superior to those previously presented with respect to the ability to reject the kind of distortion found in practice. A model based technique using the 3D AR model is also developed for detecting and removing Blotches. This technique achieves better fidelity at the expense of heavier computational load. Motion compensated 3D IIR and FIR Wiener filters are investigated with respect to their ability to reject noise in an image sequence. They are compared to several algorithms previously presented which are purely temporal in nature. The filters presented are found to be effective and compare favourably to the other algorithms. The 3D filtering process is superior to the purely temporal process as expected. The algorithm that is presented for suppressing inter-line jitter uses a 2D AR model to estimate and correct the relative displacements between the lines. The output image is much more satisfactory to the observer although in a severe case some drift of image features is to be expected. A suggestion for removing this drift is presented in the conclusions. There are several remaining problems in moving video. In particular, line scratches and picture shake/roll. Line scratches cannot be detected successfully by the detectors presented and so cannot be removed efficiently. Suppressing shake and roll involves compensating the entire frame for motion and there is a need to separate global from local motion. These difficulties provide ample opportunity for further research.

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Gurski, Remi J. "Real-time motion picture restoration". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ38631.pdf.

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Bokšteflová, Barbora. "Motion-picture spatial-differentiation model". Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-124646.

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The thesis presents a game theoretic model of two directors on a single market. It introduces a variable film type which attains a value from the interval [0,1], where the boundaries expresses the art and the mainstream film, respectively. Each director has opposite preferences over a film type and chooses which type of film to shoot. The director's decision influences the profit function of the other director. The objective of each director is to maximize his profit function. The profit function is the difference of the quadratic audience function and of the cost function. The cost function is the sum of quadratic production cost function and linear disutility cost function which expresses the director's unmeasurable cost issued from the deviation from his most preferred film type. The model therefore includes both the economic and the artistic incentives which influence the directors' decision. We prove that for each pair of profit functions, there exists at least one pure strategy Nash equilibrium. The discussion of possible outcomes is illustrated by an empirical application.

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Har-Noy, Shay Shmuel. "Improved LCD motion picture quality". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3356431.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed June 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 107-114).

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Jansen, Christian. "The German motion picture industry". Doctoral thesis, Humboldt-Universität zu Berlin, Wirtschaftswissenschaftliche Fakultät, 2002. http://dx.doi.org/10.18452/14767.

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Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben.
This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.

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Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)". Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.

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The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA

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Owen, Richard. "Motion picture production : A micro-budget model". Thesis, Federation University Australia, 2016. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/159080.

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The film industry plays an important cultural and economic role in Australia. However, the film industry in Australia has struggled for many years under a subsidy-driven government intervention process that creates a high degree of dependence on a subsidy-centric model. Motion picture production costs worldwide have risen dramatically over the last decade with Hollywood production budgets commonly exceeding $100 million. Australia as a nation has a proven capability to produce respectable motion pictures at varying production budgets, although this capacity has become entrenched with taxpayers’ money. Historically, subsidy-driven industries in Australia trend towards collapse due primarily to cyclical fiscal deficits and changing funding imperatives at the Commonwealth level. As a PhD by exegesis, the focus of this research was to create, as well as evaluate, a new model of film production that would not be dependent on subsidies. This study evaluated a number of factors that were relevant to establishing a viable micro-budget model. Micro-budget films have received little research attention, with the focus being on major films. This research examined an alternative model, through the creation of a feature-length micro-budget film, called Stakes, and assessed it across a range of criterion to determine whether Australia’s film industry could be strengthened and potentially become self-sufficient. The resulting motion picture premièred in Australian cinemas on October 29th 2015. The justification, methods and results are discussed in detail throughout this exegesis providing strong evidence in favour of the viability for a micro-budget segment in the Australian film industry. Such a model could reduce the risk of Australia’s film industry collapsing if subsidies are reduced or abolished. Thus, this research has significant implications for Australia’s film industry and also contributes strongly to scholarship through providing crucial information on micro-budget films.
Doctor of Philosophy

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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Johnson, Mary P. A. "Online, onscreen, motion picture promotion via the Internet". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60991.pdf.

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Daneau, Daniel. "THE ATTIC DOOR: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2224.

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THE ATTIC DOOR is the feature-length film co-written and directed by Danny Daneau while pursuing a Master of Fine Arts at the University of Central Florida. Many challenges had to be met to produce a feature-length motion picture utilizing digital technology on an ultra-low budget as part of a graduate education. Beyond gaining a profound understanding of the physical, financial, and emotional strength it takes to complete a feature-length motion picture, Daneau experienced the creative challenges that all filmmakers must meet when applying the principles of filmmaking theory to an actual work of self-expression. The production process for an original narrative film under the guidelines established by the university has pushed him to make a motion picture that is both a highly personal work of film art and evidence of the educational journey he has taken for the past three years.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA

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Stoker, Mark. "Capstan drive transport system for motion picture film". Thesis, Middlesex University, 1992. http://eprints.mdx.ac.uk/13502/.

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The work presented describes the development of a capstan drive system for the transport of motion picture film. From a model description of the plant and computer aided system design analysis, control algorithms are formulated. The work shows how these relativity complex control algorithms are implemented by making use of the parallel processing capabilities of the transputer. A critical investigation of current film transport methods is undertaken leading to the design and testing of a prototype capstan drive mechanism. The capstan drive system is shown to eliminate problems of sprocket drives and their associated mechanisms. A multi-input multi-output controller is presented using state-space methods of design. The developed control strategies are fully tested on a model of the plant before hardware testing. The control outputs of the system are speed and tension. The final control solution is shown to be a combination of full-state feedback, integral control, and a Kalman filter estimator for the elimination of system disturbances. The transputer implementation of the developed control strategies is presented together with a comparison between simulation and experimental results. It is shown that computational times can be reduced by using multiple transputers and placing computation-intensive sections of the control algorithm on separate processors. Transputer configurations and interconnections are shown. The capstan system has been shown to allow faster printing speeds with improved transport accuracy leading to better quality of the final picture print. The system has been shown to be 'robust' to external disturbances and changes in plant parameters.

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Hillman, Peter. "Segmentation of motion picture images and image sequences". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/15026.

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For Motion Picture Special Effects, it is often necessary to take a source image of an actor, segment the actor from the unwanted background, and then composite over a new background. The resultant image appears as if the actor was filmed in front of the new background. The standard approach requires the unwanted background to be a blue or green screen. While this technique is capable of handling areas where the foreground (the actor) blends into the background, the physical requirements present many practical problems. This thesis investigates the possibility of segmenting images where the unwanted background is more varied. Standard segmentation techniques tend not to be effective, since motion picture images have extremely high resolution and high accuracy is required to make the result appear convincing. A set of novel algorithms which require minimal human interaction to initialise the processing is presented. These algorithms classify each pixel by comparing its colour to that of known background and foreground areas. They are shown to be effective where there is a sufficient distinction between the colours of the foreground and background. A technique for assessing the quality of an image segmentation in order to compare these algorithms to alternative solutions is presented. Results are included which suggest that in most cases the novel algorithms have the best performance, and that they produce results more quickly than the alternative approaches. Techniques for segmentation of moving images sequences are then presented. Results are included which show that only a few frames of the sequence need to be initialised by hand, as it is often possible to generate automatically the input required to initialise processing for the remaining frames. A novel algorithm which can produce acceptable results on image sequences where more conventional approaches fail or are too slow to be of use is presented.

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Engelbrecht, Nadine. "University of Pretoria : school of motion picture production". Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-11212008-103253.

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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.

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Snead, Nicholas DeVan. "Fabulistic: Examination and application of narratology and screenplay craft". CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.

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This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

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Pope, Naomi Elizabeth. "Beyond Hollywood the social and spatial division of labor in the motion picture industry /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579190531&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)". Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.
Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).

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Su, Xinxin. "Genesis : a feature screenplay /". Online version of thesis, 2009. http://hdl.handle.net/1850/8692.

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

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Vermaak, Janelle Leigh, i Subeshini Moodley. "Fans of film franchises - the online alien universe: a study of online participation as a catalyst for fan-created objects that expand the film universe". Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13938.

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This thesis will analyse the ways in which fan participation and creation in online communities extends the film world beyond the film object, and the extent to which fandom influences identity within the fan group. The study will seek to determine the ways in which fans become part of the franchise through online engagement, as well as the manner in which they appropriate the franchise identity through their creations. The central hypothesis of the study is that online participation and creation amplifies fan connection with the film franchise, and increases the sense of identification with the world and characters of the films. By being or becoming fans, and engaging with other fans in online and real spaces, they are joining a larger community of people who seem to have blurred the lines between fiction and reality by engaging in a fictional, virtual space as a source of real personal entertainment, based on an anchor media product. This appropriation is enabled through digital communities which expand and extend the reach of fan interaction and further develop the identity of the individual as ‘fan’. Thus, the study will reflect on the implications of fan engagement with the film franchise in the digital space.

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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /". Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.

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Thesis (Ph.D.) -- University of Glasgow, 2002.
Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.

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Armanno, Venero. "Three screenplay adaptations and the ownership effect". Thesis, Queensland University of Technology, 2003.

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This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel, and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas. Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.

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Williamson, Diana Michelle. "The degradation of cellulose acetate base motion picture film". Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359295.

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The natural degradation of processed black and white cellulose acetate based 35mm motion picture film material has been investigated using 1H and 13C NMR spectroscopy. According to current standards only this material is considered to be an archival recording medium. It has been recognised that understanding the relationship between structure and physical properties would provide knowledge to help inhibit motion picture film degradation. A correlation between observed changes in molecular structure and physical property changes namely, % moisture regain, acidity and viscosity has been obtained. Results of these studies indicate that the primary mode of degradation is hydrolysis of ester groups leading to deacetylation of the C6 acetyl group in the polymer chain. On further deactylation, the C3 acetyl group is lost in preference to the C2 acetyl group. Therefore, it can be concluded that a decrease in viscosity retention and an increase in acidity concurs with deacetylation of the polymer chain. On this basis mechanisms of deacetylation would predominate since oxidative chain-scission would take place through the C2 acetyl group which is less accessible. NMR spectroscopy also reveals that the plasticisers, namely triphenyl phosphate and diethyl phthalate incorporated into cellulose acetate base, influence its stability. Under archival conditions the triphenyl phosphate plasticiser appears not to undergo degradation but becomes increasingly incompatible with the cellulose acetate base. Diethyl phthalate however was seen to degrade as the cellulose acetate base itself degrades. A more detailed understanding of the macromolecular structure of cellulose acetate based motion picture film has been obtained with the use of Molecular Modelling and Graphics studies using QUANTA software. This supports the NMR study indicating that the C6 and C3 acetyl groups are clearly more exposed in the polymer matrix and therefore, are more likely to be lost as hydrolysis of the polymer chain occurs. Modelling studies also supported reduced stability of the polymer in the presence of plasticisers. When plasticisers were docked within the polymer matrix distortions of the polymers chains were observed as chains were pushed apart and dihedral angles altered. The role of the emulsion in film degradation was also examined by electrophoresis. This separation of proteins has shown that under archival conditions, naturally aged gelatin emulsion layers show a decrease in molecular weight. This has been attributed to the acid catalysed deacetylation of the cellulose acetate base lowering the pH of the film and inducing hydrolysis of gelatin. Only when considerable amounts of acid have been evolved are changes to the emulsion observed. Finally, the effects of storage containers were characterised using viscosity and acidity measurements. Accelerated ageing studies at 50%RH 70°C to emulate archival storage conditions revealed that in the early stages of degradation polyethylene and polypropylene cans were more detrimental to film stability than the more traditional metal can. The plastic cans were shown to promote oxidative degradation of the film and polypropylene was shown to lead to higher levels of peroxide in films than polyethylene

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Lévy, Michaël D. (Michaël David). "A competitive analysis of the U.S. motion picture industry". Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/14112.

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Shu, Yan. "Coding of motion picture residues without adaptive spatial transforms". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0030/MQ47477.pdf.

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Stock, Helga. "Issues of Colour Management in contemporary Motion Picture Creation". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251463.

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Cílem této práce je pokusit se zauvažovat o složitém procesu podání barev při filmové výrobě z pohledu kameramana a obajsnit tím význam barev v souvislosti s kameramanskou profesí a ustanovením oboru kameramanství jako jedné z podob umělecké formy.

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Wallace, Kristi Monique Fellini Federico Demme Jonathan Kassovitz Mathieu. "The Road in picture : Fellini, Demme, Kassovitz /". Connect to title online (ProQuest), 2007. http://proquest.umi.com/pqdweb?did=1453174371&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 193-195). Also available online in ProQuest, free to University of Oregon users.

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Carboni, Camilla. "Film spectatorship and subjectivity : semiotics, complications, satisfactions". Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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Yung, Wai-kei, i 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.

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Wedzielewski, Daniel. "The impact of blind bidding on market structure and performance in the U.S. motion picture industry". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 134 p, 2009. http://proquest.umi.com/pqdweb?did=1654492601&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.

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McVeigh, Kathryn Margaret. "Work in progress : the writing of Short changed". Thesis, Queensland University of Technology, 1999.

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Work in Progress - the Writing of Short Changed is the account of the script writing process I developed and followed in the writing of the first draft of the Low Budget feature film, Short Changed. It is a process that was developed by a combination of guidance, mentorship, research, experiment and talking with and listening to other writers during the 1998 Pacific Film and Television Commission's New Writer's Workshop. Short Changed was written over a six month period. During the previous year I had intermittently researched and pondered on the knowledge of an event that had invaded my mind. In the process of writing Short Changed, I have learnt much about the craft of screen writing and I have developed an approach which I intend to use in the writing of future screenplays. There are many ways to write a screenplay. My goal as a writer was to find the way that worked for me; to find the process that created a screenplay that embodied the hallmarks of both creativity and craft. As an accomplished writer of expository prose, I was searching for the key that would unlock the door to the world of writing creative fiction. This document is a reflective account of my creative writing process. It includes the exploration and actualization of the complex and intricate workings of the mind.

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Preston, Barry A. (Barry Alan). "Myths and Movies: a Mythographical Methodology of Motion Picture Analysis". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279362/.

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Over the past decade, cinema studies scholars have begun to recognize the value of mythographical methodologies for motion picture analysis; however, most of the scholarly research in this field has focused either on mythic archetypal images or on monomythic narrative structure, rather than combining the two approaches into a unified theory. This essay addresses the problem by proposing a mythographical methodology of motion picture analysis based on Carl Jung's theory of archetypal images and Joseph Campbell's theories concerning the monomythic structure of heroic narratives. Combining the two approaches of myth interpretation results in a more comprehensive methodology for interpreting the mythic elements of motion pictures. This essay illustrates the application of this methodology through a detailed analysis of Terry Gilliam's film, The Fisher King.

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Choi, Wing-yee Kimburley, i 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.

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Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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Tosaka, Yuji. "Hollywood goes to Tokyo American cultural expansion and imperial Japan, 1918-1941 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060967792.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.

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McKenzie, Jordi. "An economic analysis of motion pictures in the Australian cinema industry, 1997-2000". Connect to full text, 2005. http://hdl.handle.net/2123/1794.

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Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?].
Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.

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Melville, Andrew. "Exegesis and screenplay for a film entitled Mangrove a thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Communication Studies), August 2004". Full thesis. Abstract, 2004.

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Exegesis (MA--Communication Studies) -- Auckland University of Technology, 2004.
Title page and table of contents missing from e-thesis. Also held in print (14 p., 30 cm.) in Wellesley Theses Collection (T 791.4372 MEL)

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Matzkin, Rosalie Greenfield. "The film encounter in the life-world of urban couples : a uses and gratification study /". Access Digital Full Text version, 1985. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10538483.

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Negrisolo, Letizia <1994&gt. "Tarzan of the Apes: the first motion picture adaptation (1918)". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13372.

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Lifshitz, Judith. "Completion guarantees and the financing of entertainment projects in the province of Quebec". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50946.pdf.

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

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Tang, Yi. "A bird known by its note : identity legitimacy, network dynamics, and actor performance in the Hong Kong film industry, 1970-1997 /". View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?MGTO%202009%20TANG.

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Ritchie, Brendan. "CooperStreet' (original screenplay); and, Into the foreground : an examination of setting in the screenplay". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.

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This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.

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Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /". Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.

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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "the enemy," nationalism and individualism, and women, in order to understand how dominant perspectives of the times are reflected, reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an imperialistic standpoint toward the Vietnamese people; nationalism is promoted by calling on individual suffering and sympathy; and women are diminished. Canh Dong Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with individualism; and the women in the film play a much more significant role.
Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Pat Curtin; Dr. Gabriela Martinez

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