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Lee, Tain-dow. "Reforming film study at the level of higher education in Taiwan, the Republic of China /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147137.
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Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.
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Petrocelli, Heather Oriana. "Portland's "Refugee from Occupied Hollywood": Andries Deinum, his Center for the Moving Image, and Film Education in the United States". PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/608.
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Two years after Dutch émigré Andries Deinum was fired from the University of Southern California in 1955 for refusing to cooperate with the House Un-American Activities Committee, he moved to Portland, Oregon to teach film courses through the Portland Extension Center. By 1969 he had become integral to the local film community and had formed Portland State University's Center for the Moving Image (CMI), where he and Tom Taylor taught film history, criticism, and production for the next thirteen years. Although CMI was eliminated in 1981 as part of PSU's financial exigency, CMI's teachers and students have been a vital part of the thriving film community in Portland since its foundation. A key former student and figure in Portland's film community, Dr. Brooke Jacobson credits Deinum, Taylor, and CMI for laying the foundation for the Northwest Film Center (co-founded by Jacobson in 1971 as the Northwest Film Study Center). Through archival research and oral history methodology, this thesis pieces together Andries Deinum's role in the development of film education in the United States and the mark he left on Portland's cultural landscape, specifically the city's vital and thriving cinematic community.
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Khazaal, Natalie Michaylova. "Sectarianism, language, and language education in Lebanese theater, television, and film". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Li, Jian. "Film Dialogue Translation And The Intonation Unit : Towards Equivalent Effect In English And Chinese". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1480.
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This thesis proposes a new approach to film dialogue translation (FDT) with special reference to the translation process and quality of English-to-Chinese dubbing. In response to the persistent translation failures that led to widespread criticism of dubbed films and TV plays in China for their artificial 'translation talk', this study provides a pragmatic methodology derived from the integration of the theories and analytical systems of information flow in the tradition of the functionalist approach to speech and writing with the relevant theoretical and empirical findings from TS and other related branches of linguistics. It has developed and validated a translation model (FITNIATS) which makes the intonation unit (IU) the central unit of film dialogue translation. Arguing that any translation which treats dubbing as a simple script-to-script process, without transferring the prosodic properties of the spoken words into the commensurate functions of TL, is incomplete, the thesis demonstrates that, in order to reduce confusion and loss of meaning/rhythm, the SL dialogue should be rendered in the IUs with the stressed syllables well-timed in TL to keep the corresponding information foci in sync with the visual message. It shows that adhering to the sentence-to-sentence formula as the translation metastrategy with the information structure of the original film dialogue permuted can result in serious stylistic as well as communicative problems. Five key theoretical issues in TS are addressed in the context of FDT, viz., the relations between micro-structure and macro-structure translation perspectives, foreignizing vs. domesticating translation, the unit of translation, the levels of translation equivalence and the criteria for evaluating translation quality. lf equivalent effect is to be achieved in all relevant dimensions, it is argued that 'FITness criteria' need to be met in film translation assessment, and four such criteria arc proposed. This study demonstrates that prosody and word order, as sensitive indices of the information flow which occurs in film dialogue through the creation and perception of meaning, can provide a basis for minimizing cross-linguistic discrepancies and compensating for loss of the FIT functions, especially where conflicts arise between the syntactic and/or medium constraints and the adequate transfer of cultural-specific content and style. The implications of the model for subtitling arc also made explicit.
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Butler, Faith J. "Hollywood films, reflective practice, and social change in teacher education : a Bahamian illustration". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36880.
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This qualitative inquiry explores the use of Hollywood films depicting teachers (teacher-films) as an approach to reflective practice and social change with 60 undergraduate students in a teacher education programme in the Bahamas. In order to facilitate critical reflection on the preservice teachers' perceptions of teaching, on themselves as teachers, and on their teaching experience, a module comprised of five teacher-films (To Sir With Love, Blackboard Jungle, Stand and Deliver, The Prime of Miss Jean Brodie, and SARAFINA!) is designed and employed. The depictions of teaching are deconstructed as a means of introducing the complexity of teaching as well as unveiling the relevance of issues such as class, race, gender, and the politics of power and position to the life of a teacher. Central to the study is exploring how prospective teachers "read" these films and what insights prospective teachers gain from the films.The study generates four main data sources: (1) transcriptions of audio-taped group discussions with the preservice teachers, (2) the preservice teachers' written responses to questionnaires relating to the teacher-films, (3) reflective journals kept by the preservice teachers, and (4) the preservice teachers' written responses to the entire teacher-film module. The analysis of the data is presented in two parts. First, the preservice teachers' overall response to the teacher-film module is detailed. Next, their close reading of teaching and learning as portrayed in two of the films, The Prime of Miss Jean Brodie and SARAFINA!, is discussed. A number of themes that emerge within the data such as the role, influence, and power of teachers are explored.
This inquiry has revealed how teacher-films can be utilized within teacher education to prompt neophyte teachers to examine their identity as teachers, to scrutinize their perceptions and assumptions, as well as to stimulate questions with regard to the perplexities of teaching. Film pedagogy also has potential to heighten awareness of vital issues of teaching such as race, class, and gender, to provoke self-study, and prompt social change. In addition, educators and researchers can learn much by examining preservice teachers' responses to popular screen images of teachers as well as other popular culture images of teachers. This information can be used to design teacher education curricula that more adequately prepare neophyte teachers for the challenges of teaching.
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Hilliard, James Patrick. "The elements of filmmaking". CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.
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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.
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Johnson, Nicholas. "Eighty years on : representations of teachers and schools in British films, from 1930 to 2010". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3007/.
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Teachers are required to be reflective practitioners: that is, they must constantly assess and evaluate their performance, and its effectiveness. In addition, of course, they come under external scrutiny from government and parents. However, what of the way the public look at teachers? Teachers and schools may be read about in newspapers, comics and journals, discussed on television and the radio; they may even fall foul of social networking sites on the Internet. Popular films may be regarded as ninety-minute essays, presented dramatically for the entertainment of their audiences; the teacher or school film has been a staple of popular cinema in this country for almost eighty years. Moreover, the representations of teachers in British films have tended to retain a continuity of message despite the many changes that have taken place in education over this period. This thesis looks at those representations, and changes in education, and attempts to make connections, backed up with a philosophical approach that seeks to explain the visual turn in terms of successive orders of simulation. My hope is that new generations of teachers may reflect on the cultural heritage of which they, and their chosen profession, are very much a part.
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Lourenço, Cileine I. de. "Negotiating Africanness in national identity : studies in Brazilian and Cuban cinema /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794983620659.
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Martin, Michelle H. Trites Roberta Seelinger. "Periods, parody, and polyphony ideology and heteroglossia in menstrual education /". Normal, Ill. Illinois State University, 1997. http://wwwlib.umi.com/cr/ilstu/fullcit?p9819894.
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Thesis (Ph. D.)--Illinois State University, 1997.Title from title page screen, viewed June 29, 2006. Dissertation Committee: Roberta Seelinger Trites (chair), Jan Susina, Bruce W. Hawkins. Includes bibliographical references (leaves 170-177) and abstract. Also available in print.
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Munde, Gail Marie. "An Examination of Selected Product Characteristics Associated with the Sales Success of Nontheatrical Film and Video Works". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331458/.
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The purpose of this study was to test assumptions made about characteristics of nontheatrical film and video works that were thought to contribute to the frequency with which the works were purchased. This study proposed and tested three variables for which relationships to the sales success of nontheatrical film and video works were hypothesized, as well as four variables about which no hypotheses were forwarded.
Nineteen film and video distribution organizations contributed unit sales data for the period 1982-1987 on 151 works copyrighted between 1982 and 1984. These data were analyzed for relationships between sales totals and 1) curricular significance of the works' subjects, 2) relevance to general reading interest in the works' subjects, 3) intensity of competition faced by the works, 4) the works' Dewey classifications as compared to the composition of typical K-12 school library book collections, 5) the series or non-series status of the works, 6) the media format(s) in which the works were available for purchase and 7) the sources of the works' production financing.
Analyses of correlation and association were performed and no significant relationships were found between sales and curricular significance of the works' subjects, or their relevance to general reading interest. Some evidence was presented to suggest a significant association between the intensity of competition faced by a work and its eventual sales. None of the hypotheses about these variables was supported. However, the four remaining variables were found to be significant, or to approach significance, as correlates or associates of sales success.
The best predictor of sales for works intended for the K-12 school market was the work's Dewey Decimal classification. Other important findings included associations between high sales and intense product competition, between high sales and non-series status, between high sales and availability for purchase in 16mm film and between high sales and works that had been financed by the distribution organization.
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Reckman, Brent Williams. "The Use of An Inconvenient Truth as a Pedagogical Tool for Teaching Peace through Environmental Justice in the 21st Century". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226329341.
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Pieczenik, Sharon Rovner. "We are still talking the wrong language to 'tv babies'". Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/pieczenik/PieczenikS0508.pdf.
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In order to reach a young generation diagnosed with \"nature deficit disorder\" and flooded with mass media messages from a myriad of channels, non governmental organizations (NGOs) and environmental educators need to embrace musical videos as a tool for conservation education. Rare Conservation is one NGO that utilizes music videos as an innovative technique to reach a younger audience in order to foster a sense of pride and concern for the environment in which they live. In 1992, RARE Conservation produced a music video for the song \"Quincy Rap\" by Tony (The Obeah Man) McKay. The \"Quincy Rap\" music video was one environmental tool in the overall campaign to save the endangered and endemic Bahamian Parrot. By analyzing the \"Quincy Rap\" music video, a guideline for creating persuasive music videos can be constructed. In order to analyze a music video, like \"Quincy Rap,\" it is best to take a multi-perspective approach, first dissecting the visual elements of the video then looking at the audio elements and then concluding with how the visual and audio elements intersect. By juxtaposing music video techniques with those found in other forms of video production, certain persuasive elements of music video production can be highlighted. This unique rhetoric of music videos can be utilized as persuasive environmental education.
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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.
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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD
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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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Koide, Emi. "Por um outro cinema - jogo da memória em Chris Marker". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-09092011-152805/.
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O presente trabalho é uma reflexão crítica sobre o estatuto da imagem e sua relação com amemória e a história na sociedade contemporânea, em que a influência dos meios de comunicação demassa, da indústria cultural e dos recursos audiovisuais é dominante. Em contraponto a essa produçãoaudiovisual, que produz consenso acerca da memória e da história, impondo uma espécie depadronização das experiências, examinou-se como uma outra produção cinematográfica pode servircomo meio de um aprendizado crítico frente às mudanças da percepção humana com o advento denovas tecnologias, tal como apresentado por Benjamin no ensaio A obra de arte na era dareprodutibilidade técnica. A partir da interpretação do ensaio de Benjamin por Miriam Hansen, tratousede refletir sobre o conceito de mimese desdobrado em jogo e semelhança que propicia aoaparato cinematográfico a possibilidade de emancipação de uma repetição infernal e perversa,regulando uma nova relação entre ser humano e máquina voltada para a criação não destrutiva ecrítica. Através da produção fílmica de Chris Marker, deparou-se com um cinema em que a montageme a organização da sintaxe fílmica podem criar novas constelações de sentido e abrir brechas para umapossível perlaboração da memória, pois a imagem em conjunção com o texto incita a reflexão sobre ahistória e sobre a própria imagem. Na análise de filmes, fotografias e textos de Marker, procurou-secompreender o modo de articulação de imagem e som em seus trabalhos, levando em conta asconsiderações de Benjamin sobre o cinema e sobre a história.!No cinema de Marker, o trabalho é o dejustamente converter o cinema em antídoto contra a dominação, fazendo com que o aparato se voltecontra a ilusão falseadora, denunciando os próprios modos de produção de imagens e da história. Suamontagem se realiza através de uma mimese da memória criativa um agenciamento de imagens esons que cria conjunções dialéticas, que desperta para o que foi esquecido e provoca a reflexão.This thesis is a critical treatment of images and their relationship to memory and incontemporary social history, specifically the influence of the mass media where audiovisual media aredominant in industrial culture. Mainstream audiovisual production creates consensus of memoriesand accepted history by imposing standardization of experience, in contrast this thesis focuses on ananalysis of a different practice within cinematography which, through developing critical reflection,highlights how human perception has changed due to the adoption and influence of new technologies:ideas put forward by Benjamin in his essay The Work of Art in the Age of Its Technical Reproducibility. Miriam Hansens interpretation of mimicry, developed by play and similarity, is astarting point for this thesis. Herein it is proposed that cinema has the ability to free itself from endlessand perverse repetition, establishing between humans and technology a new relationship that is criticaland non-destructive. By investigating the syntax in Chris Marker films, which consider history andimages, this thesis aims at a possible working-through process as to how cinema could enablememory. Benjamins writings about cinema and history are explored by analysing Markers films,photographs and texts; understanding is sought through the manner of his articulation of image andsound. In Markers films, the purpose is to fairly convert the cinema into an antidote againstrepression, by turning his cameras on the illusions and denouncing those same production methodsused to make false images and history. The montage of his images mimics a creative memory, anarrangement of sounds and images that create dialectic connections; his work awakens what had beenforgotten and provokes reflection.
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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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Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.
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This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.
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Minucci, Michele Viana. "Avaliação da compreensão de leitura de legendas de filmes em escolares de Ensino Fundamental". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/5/5162/tde-10052010-125518/.
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A compreensão da leitura de textos fixos em escolares é um tema amplamente conhecido; no entanto, na revisão de literatura não foi localizado um perfil da leitura de textos móveis nessa população, fato que demonstra a relevância deste estudo. O objetivo desta pesquisa foi avaliar a compreensão da leitura de legendas de filmes em escolares de Ensino Fundamental (EF). Participaram deste estudo 60 escolares, sendo 30 de 2ª série e 30 de 4ª série, pareados quanto ao gênero e idade e constituindo o Grupo-Pesquisa (GP); e mais 20 escolares, sendo 10 de 2ª série e 10 de 4ª série, pareados quanto ao gênero e idade e constituindo o Grupo-Controle (GC). Esta pesquisa foi dividida em dois estudos. No Estudo I, buscou-se traçar um perfil da compreensão da leitura de legenda de filmes dos escolares de 2ª e 4ª séries do GP, por meio da análise do nível e habilidades de Leitura de Legenda de Filmes na recontagem de um trecho de filme visto, de forma individual, sem som e com legenda; e também se analisou a recontagem do mesmo trecho de filme visto, de forma individual, sem som e sem legenda pelo GC com o intuito de averiguar a influência do conhecimento prévio do filme na compreensão da leitura. Os resultados indicaram correlação positiva entre o desempenho em compreensão da leitura e o grau de escolaridade no GP, sendo que escolares de 2ª série estão em nível de decodificação e os de 4ª série se encontram em nível de compreensão literal da leitura de legenda de filmes; entretanto, o grau de letramento escolar não foi um fator significante para a leitura de legenda de filmes; o conhecimento prévio do filme não interferiu de forma significante no desempenho da recontagem do GC. O Estudo II teve por objetivo comparar a compreensão da leitura de legenda de filmes em escolares de 2ª e 4ª séries do EF em duas situações diferentes, quando o filme era visto de forma ininterrupta e quando era visto com a possibilidade de pausar as legendas, analisando dessa forma a influência do fator velocidade de apresentação da legenda na compreensão da leitura. Os resultados indicaram correlação positiva entre a escolaridade e o aproveitamento da possibilidade de pausar o filme. Os escolares de 2ª série do GP apresentaram desempenho significante em apenas um dos critérios de análise, enquanto que os da 4ª série do GP apresentaram desempenho estatisticamente superior nos dois critérios de análise utilizados. Isso demonstrou que, mesmo com a possibilidade de controlar a velocidade de leitura, os leitores da 2ª série ainda não alcançam níveis de leitura mais avançados, diferentemente do grupo da 4ª série. Conclusão: com base nos resultados deste estudo, enfatiza-se a importância da apresentação de filmes legendados para todas as séries do EF; sendo que, nas iniciais, poderia ser utilizado o recurso de áudio junto com as legendasThe fixed text reading comprehension of schoolchildren is a widely understood subject. However a literature search was unable to locate a profiling of dynamic text reading in this population, which demonstrates the relevancy of this study. The purpose of this research was the evaluation of the movie subtitle reading comprehension in Elementary School (ES) children. The Research Group (RG) consisted of 60 schoolchildren, 30 of those being from the 2nd grade and 30 from the 4th grade, paired for gender and age; The Control Group (CG) consisted of another 20 schoolchildren, 10 of those from the 2nd grade and 10 from the 4th grade, paired for gender and age. This investigation was divided into two studies. The aim of Study I was to trace a profile of the movie subtitle reading comprehension in the RG schoolchildren of the 2nd and 4th grades through the analysis of the Movie Subtitle Reading level and skills in retelling a movie segment previously watched with subtitles and without sound. The same movie segment without sound and without subtitle was watched by the CG to establish the influence of previous knowledge of the movie in the reading comprehension. The results indicate a positive correlation between the performance in reading comprehension and the school level on the RG, with the 2nd graders at decoding level while the 4th graders were at the literal reading comprehension level of movie subtitles. Meanwhile, the school literacy level was not a significant factor for the movie subtitle reading comprehension. Previous knowledge of the movie did not interfere significantly on the retelling performance of the CG. Study II aimed to compare the movie subtitle reading comprehension in 2nd and 4th graders of ES in two different situations: when the movie segment was watched without interruption, and when it was watched with the option of pausing the subtitles, thus analyzing the influence of the subtitle presentation speed on the reading comprehension. Results indicated positive correlation between school grade and the benefit of the possibility of pausing the movie. 2nd graders in the RG presented significant performance in only one of the analysis criteria while 4th graders in the RG presented statistically superior performance on both criteria used for analysis, demonstrating that, even with the possibility of controlling the reading speed, the 2nd graders still hadn\'t reached the more advanced reading levels, unlike the 4th graders. Conclusions: The results of this study emphasize the importance of the display of subtitles in movies for all grades of ES, while on the first grades the audio facility should be used as well
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Hess, Daniel Lund. "The Evolution of Media in the Church Educational System of The Church of Jesus Christ of Latter-Day Saints". BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/4787.
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This thesis will chronicle the efforts of Church Educational System employees, those in the Church Audiovisual Department, and those in Church Correlation of the Church of Jesus Christ of Latter-day Saints, in the development of media produced specifically for use in the CES classroom.Following a brief overview of the history of Church Education and LDS motion picture production, this thesis will document the efforts in producing media support for CES from 1965 to the present. It will chronicle how CES media development, approval, and production have mirrored changes and developments in CES curriculum philosophy, Church organization, and advances in motion picture production technology. The creative and collaborative processes during each phase of media development will also be explored.
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Lindsey, Charles Vance. "The Experiences and Perceptions of Students Exposed to Popular Film as a Pedagogic Tool in Counselor Education: An Exploratory Study". Ohio University / OhioLINK, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1125525459.
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Santos, Júlio César dos. "Fazendo vídeos no Colégio Ottília: tecnologia e arte como ação coletiva". Universidade Tecnológica Federal do Paraná, 2008. http://repositorio.utfpr.edu.br/jspui/handle/1/173.
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Esta pesquisa trata da prática de fazer vídeos no Colégio Estadual Professora Ottília Homero da Silva, cidade de Pinhais, região metropolitana de Curitiba; diferenciando o que se pode perceber a partir da comparação entre dois gêneros distinguidos como: um vídeo-ficção experimental e outro, um vídeo-documentário institucional. Aborda a produção de vídeos no âmbito de uma escola pública, partindo da concepção da pesquisa como prática social tendo como aporte teórico os estudos da cultura, da arte e da tecnologia como ação coletiva, com ênfase nos processos de ensino-aprendizagem. Nesta pesquisa o estudo se concentra na prática de fazer vídeos por um grupo de alunos de uma escola pública, com o objetivo de encontrar algumas evidências das implicações geradas por tal prática como construção simbólica e ruptura de determinadas situações impostas pelo cotidiano compreendendo-a como um ato cultural complexo e transformador. Por que essas pessoas fazem vídeos? Como se dá esta prática nestas circunstâncias? Como se dá este processo de construção cultural simbólica? Entre as evidências encontradas figuram a busca pela inserção social, e a ampliação da reflexão crítica, quando as pessoas envolvidas na prática passaram a questionar suas posições na construção de suas identidades, reflexo e refração do contexto em que estão imersas.This research deals with the practice of making videos at the Colégio Estadual Professora Ottília Homero da Silva, in Pinhais city, in the metropolitan region of Curitiba, differentiating what you can see from the comparison between two different genres: one, a experimental video-fiction, another, a institutional video-documentary. It addresses the production of videos at a public school, based on studies of culture and art and technology as a collective action, with emphasis on the teaching-learning processes. This research study focuses on the practice of making videos by a group of students at a public school, with the goal of finding some evidence of the implications generated by such practice as a symbolic construction and disruption of daily life imposed by certain situations, as a complex act cultural and process. Why do these people make videos over there? How this practice occurs in theses circumstances? How we give this process of building cultural symbolic? The evidence founded included the search for social integration, and extension of critical reflection, when people involved in the practice began to question their positions in the construction of their identities.
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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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Kirkpatrick, Stephanie Renee. "The Disney-Fication of Disability: The Perpetuation of Hollywood Stereotypes of Disability in Disney’s Animated Films". University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1248051363.
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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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Fitch, John C. III. "THE CINEMATIC COLLEGE PROFESSOR: CONCEPTIONS AND REPRESENTATIONS". UKnowledge, 2018. https://uknowledge.uky.edu/epe_etds/58.
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Depictions of college professors in American films are common, and while a number of studies have investigated various aspects of college life in motion pictures, few have focused exclusively on the cinematic professoriate. In addition to being an indelible part of history, cinematic depictions of college professors are part of the national discourse on the role and function of the faculty and university. An investigation of how college professors have been represented in American films, and how these representations are read and created by real-life college professors and filmmakers may provide a deeper understanding of the relationship between popular culture images and academia. This project consists of three sections. The first focuses on the trajectories of negative representations of college professors in popular American films from 1970-2016. The second examines interview responses of film professors to on-screen depictions of college faculty. The third presents a case study of professorial depictions by a group of filmmakers who created a feature length film about a college professor. As various public stakeholders are increasingly questioning the role of the college professor and the institution of higher education, this project seeks to examine the influence of popular professor images and cultural influences on the conceptions of two interpretive communities – one that embodies the professoriate and one that creates images surrounding it. Moreover, this project considers these depictions within film marketplace and popular culture contexts.
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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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Shintani, Emi. "Teaching film to enhance brain compatible-learning in English-as-a-foreign language instruction". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2403.
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These learning strategies have presented a theoretical framework for applying brain-based learning to EFL teaching. The model is based on the holistic principles of brain based learning rather than memorization of skills and knowledge as has been previously employed in EFL instruction.
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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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Chaikin, Eric Justin. "An assessment of historic and contemporary models of native representation from ethono-entertainment films to experiential education films". 2006. http://etd.lib.montana.edu/etd/2006/chaikin/ChaikinE0806.pdf.
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Sandlos, Karyn. "Nothing personal : psychoanalytic dilemmas in artists' film and pedagogy /". 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR19816.
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Thesis (Ph.D.)--York University, 2006. Graduate Programme in Education.Typescript. Includes bibliographical references (leaves 183-200). Filmography: leaves 199-200. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR19816