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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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Santos, Fernanda Bornancin. "Deslocamentos tecnológicos e artísticos na prática dos microrroteiros da cidade". Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2032.
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CAPESEsta pesquisa propõe uma reflexão sobre como a dimensão tecnológica na prática dos Microrroteiros da Cidade se constitui como fator fundamental de seus processos de co-construção e mediação de circulações, dinâmicas e possibilidades de desdobramento. Criado em 2009 pela artista e roteirista paulistana Laura Guimarães, o projeto consiste em pequenas intenções de roteiro que convidam à visualização de histórias e situações vivenciadas por pessoas que transitam e/ou habitam a cidade de São Paulo. A linguagem utilizada nos textos dos microrroteiros é, ao mesmo tempo, uma relativização do roteiro de cinema e do código técnico de escritura do Twitter – uma plataforma de microblogging que prioriza o compartilhamento por meio de mensagens curtas de até 140 caracteres. Por meio de levantamento fotográfico, entrevista e coleta de dados, realizamos um mapeamento dos trânsitos dessas dinâmicas e, posteriormente, desenvolvemos uma análise das opções tipográficas, dos variados suportes, composições e das conexões entre diferentes espaços geográficos identificados. A fundamentação da pesquisa é realizada a partir da Teoria Crítica da Tecnologia de Andrew Feenberg e da leitura do autor sobre as considerações de Herbert Marcuse em relação à tecnologia e a arte. Refletimos também a respeito de deslocamentos de processos artísticos e comunicacionais desencadeados a partir da década de 1960 por um viés teórico latino-americano, sustentado por Néstor García-Canclini e Jesús Martín-Barbero, no intuito de analisarmos como a prática dos Microrroteiros da Cidade e suas dimensões técnico-estéticas se constituem nas dinâmicas das redes sociais e dos códigos urbanos em que se localiza. Desse modo, compreendemos as hibridações de linguagens expressas nessa prática artística como deslocamentos que ocorrem não de modo linear, mas de maneira cruzada e simultânea, borrando fronteiras de autoria e de fruição passiva, possibilitando outras construções de visualidades, coletivos e randômicos, mediando processos de ressignificação e reapropriação da cidade.
This research proposes a reflection about how the technological dimension in the practice of Microrroteiros da Cidade constitutes a fundamental factor of its co-construction and mediation processes of circulation, dynamics and deployment possibilities. Microrroteiros’s project was created in 2009 by the artist and screenwriter Laura Guimarães. Its approach involves small script intentions that invites São Paulo’s population to imagine and visualize scenes that happen in the city. The language used in microrroteiros texts is, at the same time, a relativization of screenplay and Twitter’s technical code – a microblogging plataform that priorizes the share of 140 character messages. Through photographic survey, interview and collection of data, we made a transit mapping of this dynamics and, after that, we developed an analysis of the typographic options, the various media, compositions and connections between different geographic areas identified. The theoretical foundation of this research is based on Andrew Feenberg’s Critical Theory of Technology, and on considerations that this author does about Herbert Marcuse’s theorical position on technology and art. Supported by Néstor García-Canclini and Jesús Martín-Barbero, we observe some shifts of artistic and communication processes triggered from the 1960s by a Latin American theoretical bias, in order to analyze how the practice of Microrroteiros da Cidade and their technical and aesthetic dimensions are constitutive in the dynamics of social media and urban codes in which it is located. Thus, we understand the hybridizations of this artistic practice as displacements that occur in a nonlinear way, but crossed and simultaneous, blurring boundaries of autorship and enabling other visual, collective and random constructions, mediating processes of reinterpretation and reappropriation of the city.
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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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Aguad-Rodríguez, Shadia. "Análisis del marketing digital en el cine peruano : casos Asu Mare 2 y Desaparecer". Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/3654.
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El presente trabajo académico tiene como objetivo principal analizar el papel que desempeñó el marketing digital en la promoción y resultados de las películas Asu Mare 2 y Desaparecer; identificando la correlación que hubo entre la interacción en las redes sociales y los resultados de taquilla en las semanas que ambas películas estuvieron en cartelera.Trabajo de investigación
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Brown, Anna Marie. "Cinerati". PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.
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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.
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Ng, Hei Tung. "The representation of the mothers in J-horror". HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/836.
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Lam, Sui-kwong Sunny, i 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.
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Chiarini, Ludovica, i Nadia Khedachi. "Sustainability reporting in project-based industries: a European study with a focus on the motion picture industry". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23260.
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Project-based industries (PBIs) and more specifically the motion picture industry (MPI) are industries with fluid workflows composed of non-standardised routines. The constant and massive employment of resources on an industrial level (energy usage, waste production, ephemeral decors, food consumption, transportation) generates a considerable negative impact on the environment. These industries are not striving towards sustainable development due to their ever changing work processes but have still not suffered from consumers’ backlash as many others are currently experiencing (fast fashion).Nonetheless, sustainability reporting (SR) is a rising phenomenon among MPIs due to an increased awareness about climate change and the need to shift business priorities towards a triple bottom line approach.With the employment of the major theories traditionally used to explore sustainability reporting, this thesis analysed the current stage of sustainability reporting practices in project-based industries with a focus on the motion picture industries in Europe (UK, France, Italy and Sweden). To reach this purpose, a theoretical tryptic supported the argumentation: the institutional theory, legitimacy theory and stakeholder theory were employed in synergy.Eventually, researchers confirm that SR is a rising practice and that it is not harmonised among its users. Given the lack of tailored legislative framework, organisations adventure themselves into self-assessment and third-party assessment with incohesive methodologies. Overall the motivations behind such a transition mainly emanate from personal conviction for sustainability, rather than established institutional or social pressure. Lastly, collaboration and stakeholders considerations are a reality and contribute to a more genuine engagement of MPIs into SR.
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Enders, Mark Enders Mark. "No laughing matter an exploration of the role of the protagonist in Australian feature films classified as social comedies /". Connect to this title online, 2004. http://adt.library.qut.edu.au/adt-qut/public/adt-QUT20050224.101747/.
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Mills, Jane Kathryn. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape". Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.
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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways.
My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.
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Cork, Kevin James, of Western Sydney Nepean University i Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales". THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.
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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areasMaster of Arts (Hons)
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Mann, Erika Noelle. "Cinema's green is gold the commodification of Irishness in film /". CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05082008-102020/.
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Tsui, Kin-chung, i 徐建忠. "Wong Kar-wai: the filmmaker of solitude". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953748.
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McCann, Elisabeth L. S. "A rhetorical analysis of Elizabeth Barret's Stranger with a camera". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1246473.
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This study explores how the context of an event can be reconstructed in order to change an event's meaning and how the recontextualization can influence perceptions of a community. The artifact examined is a documentary film produced by Appalshop, Stranger with a Camera directed by Elizabeth Barret.Chapter One includes an introduction to Stranger with a Camera, and work by scholars related to the study of documentary film. The research focus guiding the analysis is an examination of how Barret reconstructs the context of a murder in Jeremiah, Kentucky in order to alter the event's significance and meaning, and how her reconstruction may influence dominant social perceptions of a community.Chapter Two describes the method to be used in the analysis, cluster analysis developed by Kenneth Burke. The process of cluster analysis entails: 1) identifying the key terms in the rhetoric, 2) charting the terms that cluster around the key terms, 3) discovering emergent patterns in the clusters, and 4) naming the motive, or situation, based on the meanings of the key terms.Chapter Three is a cluster analysis of Stranger with a Camera. Key terms found in this analysis are "picture," "camera," "shooting," "media," "poverty," and "social action."Chapter Four contains conclusions pertaining to the analysis of the rhetorical artifact, conclusions for cluster analysis as a rhetorical methodology, and future considerations for academic scholarship.Department of Communication Studies
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Zhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.
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Belintani, Júlia Ramiro. "Projecionistas de cinema na transição película / digital: diálogos entre um futuro desapegado e um passado que resiste". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21689.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory
A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural
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Bahmad, Jamal. "Casablanca belongs to us : globalisation, everyday life and postcolonial subjectivity in Moroccan cinema since the 1990s". Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/19847.
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This dissertation examines the representations of Casablanca in Moroccan cinema and their articulation of postcolonial subjectivity since the 1990s. To overcome a deep economic recession and simmering social unrest in the early 1980s, Morocco embarked on a comprehensive programme of structural adjustment policies under the aegis of the International Monetary Fund. Market reforms ushered in novel forms of spatial development and social relations in Moroccan cities over the next decades. In the cultural field, a popular cinema emerged in the early 1990s and has projected the complex structures of everyday life in urban space. The New Urban Cinema (NUC) has anchored national cinema in the everyday life and affective economy of a society in transition. The country’s largest city, Casablanca, is the setting for some of NUC’s most original portrayals of the Moroccan subject under globalisation. Taking space, affect and violence as intertwined sites of film analysis, my research project closely examines the new forms of postcolonial subjectivity that have evolved in Morocco through this cinema. Twenty films are read against the backdrop of neoliberal Casablanca and the social, economic as well as political transformation of Morocco and the world under globalisation. The dissertation combines close textual analysis with a cultural studies perspective, which situates films in their historical contexts of production and reception in Morocco and beyond. Drawing on postcolonial, film and urban studies, my aim is to contribute to interdisciplinary scholarship on cinematic responses to neoliberal globalisation, and to a social history of contemporary Morocco.
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Cevik, Senem Bahar. "Impact of media spokeswomen on teen girls' body image". CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2801.
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This project investigated body image issues of girls aged 13-19 years old. It surveyed a random sample of 100 girls via a self-administered questionnaire. The study found that most teen girls have a celebrity actor idol and that the majority of teen girls are self conscious regarding body shape and weight.
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Young, Kelcei. "And the Stereotype Award Goes to...: A Comparative Analysis of Directors using African American Stereotypes in Film". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609173/.
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This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.
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Gustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context". Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
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This thesis takes a historical approach to its subject and focuses on Swedish cinema of the 1940s and 1950s. The thesis argues that Swedish cinema experienced a renaissance in the 1940s, lasting approximately from 1940 to 1953. It further suggests that one of the most important filmmakers in this renaissance was Hasse Ekman. By focussing upon Ekman and this renaissance, a much-needed contextualisation of Ingmar Bergman will be achieved. Ingmar Bergman is one of the most well-known and well-researched filmmakers of all time, but there are still gaps in the material surrounding him, and one such gap concerns his cinematic origins. Bergman was a part of the 1940s renaissance, during which Bergman worked with, and was influenced by, other filmmakers and in particular Ekman. The thesis is divided into three parts. The first part introduces the relevant literature and discusses ideas of authorship and national cinema. It also provides a historic overview of Swedish society and cinema during the 1940s and 1950s, providing the context needed to better understand the films of Ekman, and Bergman too. This part also looks at the 1930s to illustrate what came before this renaissance, and how the films of the 1940s differed from what had gone before. The second part is a chronological overview of Ekman's career from the late-1930s to his move to Spain in 1964. The last part is a discussion of Ekman's relation to Swedish society and his view of the world, based on close textual readings of his films. The aim of the thesis is to present, for the first time, a coherent and extensive overview of Ekman's career and body of work, while also situating it in the specific context in which it emerged, thereby shedding new light on an important, though neglected, episode in cinema history.
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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
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Medeiros, André Aparecido. "Deslocamento, interculturalidade e transitividade migratória em filmes dirigidos por Karim Aïnouz". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157284.
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A pesquisa tem por finalidade analisar as representações de deslocamentos, interculturalidade e transitividade migratória em filmes dirigidos por Karim Aïnouz, com destaque para O Céu de Suely (2006), Viajo porque preciso, volto porque te amo (codireção de Marcelo Gomes, 2009) e Praia do Futuro (2014). Considerado um cineasta político, Karim se destaca por sua singularidade autoral na forma de narrar identidades em transitividade. Utiliza a linguagem cinematográfica para a representação de deslocamentos e migrações, fenômeno cujas problemáticas sociais associadas estão entre as mais complexas e graves do nosso tempo. Como instrumentos metodológicos, utilizamos: pesquisa bibliográfica, entrevista estruturada com especialistas da área e análise fílmica dos filmes citados. Entendendo o cinema como um meio de leitura histórico-social e como um produtor de imaginários, atenta-se para as características do enredo das obras e para a conjuntura político-cultural das produções. O olhar intercultural, sem distinção de origens, torna possível a abordagem equilibrada dos filmes analisados e de outros trabalhos semelhantes, favorecendo o diálogo cultural e a cidadania global.
This research aims to analyze the representations of displacement, interculturality, and migratory transitivity in films directed by Karim Aïnouz, especially Love for Sale or Suely in the Sky (O Céu de Suely, 2006), I Travel Because I Have to, I Come Back Because I Love You (Viajo porque preciso, volto porque te amo, codirection by Marcelo Gomes, 2009), and Futuro Beach (Praia do Futuro, 2014). Considered a political filmmaker, Karim stands out for his singularity as an author in the way of narrating identities in transitivity. He uses the cinematic language for the representation of displacements and migrations, a phenomenon whose associated social problems are among the most complex and serious of our time. As methodological instruments, we used: bibliographical research, structured interviews with specialists in the field, and film analysis. Understanding the cinema as a means of socialhistorical reading and as a creator of imaginaries, attentive to the works’ plot features and the political and cultural situation of the productions. The intercultural view, without distinction of origins, makes possible the balanced approach of the analyzed films and other similar works, contributing to cultural dialogue and global citizenship
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Peng, Shih-Chun, i 彭仕鈞. "Design and Implementation of a Real-Time Motion Picture Transmission System in Distributed Object Network". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/28022202673704545854.
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碩士國立交通大學
電機與控制工程系
88
This thesis describes the exploitation of distributed object network technology in IA (Information Appliance) development. Xcamba, a real-time system, has been built that transmits motion pictures, compressed in JPEG, over distributed network, with client applications successfully ported on Linux and MS-Windows platforms. Combining language- and platform-independent advantages in Corba and embedded Linux, Xcamba features flexibility and scalability that most characterize a cost-optimal multimedia system.
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"Exhibitors' shadow land: a study on how movie-exhibitors in China restructure movie-going activity". 1997. http://library.cuhk.edu.hk/record=b5889099.
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by Chu Lui.Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 351-354).
ABSTRACT --- p.ii-iv
ACKNOWLEDGEMENT --- p.v
LIST OF FIGURES --- p.vi-vii
LIST OF ILLUSTRATIONS --- p.viii
CHAPTERS
Chapter PART I --- Introduction --- p.1
Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30
Chapter 2 --- Approaches from existing film studies --- p.31
Chapter 3 --- Structuration: social practices and social structure --- p.49
Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73
Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91
Chapter PART III --- The reflector's self-reflection --- p.105
Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109
Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127
Chapter PART IV --- Redefing what cinema is --- p.149
Chapter 8 --- Confusion over a simple matter --- p.150
Chapter 9 --- Delineating a new landscape of the cinema --- p.165
Chapter 10 --- "In name, in language, in ""affairs""" --- p.195
Chapter PART V --- Redefining what movie-viewing is --- p.224
Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225
Chapter 12 --- Reconstructing movie-viewing space --- p.249
Chapter 13 --- Reconstructing movie-viewing time --- p.281
Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303
REFERENCES --- p.351
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Ugor, Paul Ushang. "Youth culture and the struggle for social space the Nigerian video films /". 2009. http://hdl.handle.net/10048/470.
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Thesis (Ph.D.)--University of Alberta, 2009.Title from pdf file main screen (viewed on July 31, 2009). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English and Film Studies." Includes bibliographical references.
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Mills, Jane Kathryn, University of Western Sydney, College of Arts i School of Humanities and Languages. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape". 2007. http://handle.uws.edu.au:8081/1959.7/19823.
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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.Doctor of Philosophy (PhD)
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Bennett, Tammy Lynne. "Understanding the significance of a neighbourhood movie theatre as a cultural resource". Thesis, 2000. http://hdl.handle.net/2429/10559.
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The Greater Vancouver Regional District (GVRD) is in an era of growth,
fundamental change, and reexamination of regional and local quality of life. Within
this context, the complete community policies of the Livable Region Strategic Plan
have been developed to help achieve a region where human community flourishes
within the built and natural environment. The complete communities concept
provides people with broader diversity in the physical and social elements of
community - houses, travel, workplaces, social contacts, public services, recreation
activities, shops and personal services (GVRD, 1995). By allowing this diversity,
people will have a wider range of choices for urban living.
In recent years, municipalities in the GVRD have begun to recognize that cultural
resources are integral to the overall health, vitality and livability of the region. The
role of culture and cultural resources in maintaining and enhancing the region's
livability is acknowledged in two of the complete community policies. Cultural
resources are the "things" which give a neighbourhood, a city, or region its particular
sense of time and place and they are the expressions of what that place is. The
conservation of cultural resources to a community provides a means of making a
neighbourhood, city or region more aesthetically pleasing, and thus more livable.
Neighbourhood movie theatres, for example, are one of the many types of buildings
with cultural significance which may contribute to a community's character, quality of
life and foster a sense of pride for residents in Vancouver communities.
Neighbourhood movie theatres have been an essential component of the
movie-going experience for the citizens of Vancouver since the 1930s. The purpose
of this thesis is to ascertain whether cultural resources, such as a movie theatre,
contribute to a complete community.
Through both a literature review and case study approach, the research sought to
understand the significance of cultural resources, such as a movie theatre, to a
community. The thesis focuses on the case study of the Hollywood Theatre in
Kitsilano to explore how a local cultural resource contributes to the community. A
survey was designed and administered to 60 patrons of the Hollywood Theatre.
The study concludes that the patrons of the Hollywood Theatre indicated that the
theatre contributes to the vitality, and livability of the community. The prospects for
achieving complete communities in established neighbourhoods will be influenced
by local perspectives on growth, and change. Complete community objectives and
strategies may be accepted locally to the degree they are seen as a means to
achieve community aspirations and improve the quality of life of residents.
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DAI, HUEI-MIN, i 戴慧敏. "A Study on the Effect of Personality Traits, Motivation and Privacy Concern on Users’ Profile Picture Selection in Social Network Sites". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/59079572912751291030.
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碩士萬能科技大學
資訊管理研究所在職專班
104
Social network sites such as Facebook are gaining popularity in our life, which offer large opportunities for people to make new friends and to connect with each other. Prior Studies have emphasized the important of self-presentation for online interaction. Thus, it is essential to understand the selection behavior of user profile picture in social network context. The main purpose of this research is to investigate the relationship between personality traits, information privacy concern, motivation, and profile pictures’ types of the Facebook users. This research used questionnaire method to study the Facebook users in Taiwan, and the valid samples are 535. In data analysis, this research used PLS-SEM to verify the hypotheses of this research. The results showed that, (1) It showed that extraversion personality traits have positive correlation with the types of personal photos on profile pictures, and have negative correlation with the types of alternative photos on profile pictures. (2) The relations between openness personality traits and the types of alternative photos on profile pictures showed positive correlation. (3) It showed negative correlation between information privacy concern and the types of personal photos on profile pictures, but positive correlation between information privacy concern and the types of alternative photos on profile pictures. (4) The using motivation on relationship maintenance and self-presentation showed positive correlation with the types of personal photos. (5) The using motivation on self-presentation showed positive correlation with the types of group photos.This research also proposed related suggestion for academia and practitioners to consult.
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Sebok, Bryan Robert 1978. "Convergent Hollywood, DVD, and the transformation of the home entertainment industries". Thesis, 2007. http://hdl.handle.net/2152/3679.
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In 1997, DVD was introduced to the American public, beginning the fastest diffusion of any consumer electronics product in history. In this dissertation, I show how DVD, via favorable conditions in industry, technology, culture, economics, and the regulatory environment, replaced existing home video and computing technologies while transforming home entertainment. I analyze how DVD was successfully developed and commercialized by member firms in the filmed entertainment, consumer electronics, and computing industries from 1994-2002. I demonstrate how a new industry developed around DVD through unprecedented cooperation between these three industries. This study uses trade publications, mainstream press reports, industry data, advertisements, depositions to congress, and published interviews with industry members to analyze a process that has been understudied by scholars. Through the use of these resources, I explore how demand for the technology developed within existing contexts and how myriad forces aligned to enable the emergence of a new disc technology. Furthermore, I demonstrate how DVD reshaped these contexts while transforming the nature and business of filmed content distribution. DVD initiated a new era for digital content distribution. This era was marked by the convergence of three industries, new levels of access to filmed entertainment, mobilized viewing opportunities, the conflation of the computer and the television set, and heightened efforts to protect content through a variety of legal, regulatory, and technological strategies.
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Cork, Kevin J. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales". Thesis, 1994. http://handle.uws.edu.au:8081/1959.7/684.
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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areas
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Semin, Nancy Leigh. "An examination of Linda Lovelace and her influence on feminist thought and the pornographic industry in America". Thesis, 2006. http://hdl.handle.net/2152/4009.
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Katz, Jacqueline Lee. "Queer entanglements: postcolonial intimacies, spaces and times in Greyson and Lewis's Proteus (2003)". Thesis, 2016. http://hdl.handle.net/10539/20800.
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A dissertation submitted to the Faculty of Humanities, University of the
Witwatersrand, in fulfillment of the requirements for the Degree of
Master of Art in Dramatic ArtsMy dissertation presents a textual analysis of John Greyson and Jack Lewis's South African film, Proteus (2003), which is based on archival records and plots the never-before-told narrative of an intimacy between two inmates on 16th century Robben Island. Locating this same-sex intimacy in the 1700s Cape Colony has far-reaching implications when considered in relation to the increasingly pervasive twenty-first century discourse which proposes that homosexuality is necessarily 'unAfrican'. The film's social and political commentary is, therefore, significant for how we might think about sexuality, among other subjectivities, in post-apartheid South Africa. By analysing the film's formal and thematic attributes, I demonstrate that the directors' protean approach to filmmaking has queering effects for the linear notion of time and the cohesive conceptualisation of identity that the colonial archive tends to reinforce. I suggest that commonsense notions of time, space, language and identity that structure the archive have allowed for multiple fissures to develop along the trajectory from past to present. As I show, the aforementioned process has almost effaced from official records narratives, such as the one told in Proteus, that would trouble totalising ideas about the intimate orientations of certain individuals. Therefore, I argue that while the record of this same-sex intimacy does appear in the archive, it has been subsumed by other, more dominant, narratives. The film's work, which I replicate in my reading of it, has been to queer this archive by foregrounding what has historically been repressed. In my first chapter, I argue that by enacting what Halberstam (2005) terms a mode of 'queer temporality', Proteus carves out spaces in the archive for alternative renditions of history to come into visibility in ways that demand fluidity and heterogeneity. I propose that the strategic filmic mechanisms employed in Proteus necessarily engender nuanced spectatorial procedures, which call on the spectator to engage reflexively with the film. I continue to argue for the spectator's need to be particularly reflexive throughout the dissertation. My second chapter deals with the filmmakers' strategic use of language in order to present a commentary on the material effects that the acts of 'naming' and 'categorising' have on living bodies. The final chapter explores a critical perspective which has not previously been brought to bear on the film. I examine how Greyson and Lewis construct positions for their main characters from which they may assert their subjectivity - what Mirzoeff (2011) describes as 'the right to look'.
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Rousseau, Max. "Pembroke Circle: A Portrayal Of Social Themes Using Micro-budget Cinema". Master's thesis, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6170.
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Pembroke Circle is a feature-length, micro-budget, digital motion picture, written, produced and directed by Max Rousseau as a part of the University of Central Florida's Masters in Fine Arts program in Digital Entrepreneurial Cinema. The filmmaker engaged some very difficult material in the micro-budget paradigm and grew personally and professionally in the process. This thesis documents the writing process, pre-production, fund-raising, production and post-production; all leading to the completion of a festival-ready feature film. It is the hope that this thesis will create an understanding of what it takes to make a micro-budget film and offer some help to future filmmakers embarking on a similar path.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema Track
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Ayob, Asma. "Beyond appearances : transnationalism and representation of women in Bollywood cinema". Thesis, 2014. http://hdl.handle.net/10500/18481.
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Bollywood cinema continues to evolve. As a result, it has become a transnational/cultural role player for Indian audiences worldwide. There has always been a strong link between Bollywood cinema and Indian society. Over the years, it has contributed to the dialogue on women’s roles and position in Indian society. In the past, Bollywood filmmakers were faithful to representations of women who were bound by patriarchal structures in the sense that they were expected to be loyal to ancient Indian traditions and belief-systems. Based on the increase in Indian migration, contemporary Bollywood filmmakers are now catering to the demands of the Indian diaspora and therefore, a more global market. The impact of transnationalism on the representation of women in many Bollywood films has further added to the creation of open spaces for the Bollywood heroine. In this regard, the films of auteur director Karan Johar are valuable because they provide audiences with material that suggests re-thinking patriarchal structures in a transnational world.
This study will examine the representation of women in three selected films of Johar within the framework of feminist theory (Indian context). The impact that transnationalism has had on the Indian diaspora and the manner in which this translates into the narratives and representations of female characters in Bollywood films will be discussed.Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)
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Watkins, Elizabeth Anne. "The Polysemia of Recognition: Facial Recognition in Algorithmic Management". Thesis, 2021. https://doi.org/10.7916/d8-6qwc-0t83.
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Algorithmic management systems organize many different kinds of work across domains, and have increasingly come under academic scrutiny. Under labels including gig work, piecemeal work, and platform labor, these systems have been richly theorized under disciplines including human-computer interaction, sociology, communications, economics, and labor law. When it comes to the relationships between such systems and their workers, current theory frames these interactions on a continuum between organizational control and worker autonomy. This has laid the groundwork for other ways of examining micro-level practices of workers under algorithmic management. As an alternative to the binary of control and autonomy, this dissertation takes its cue from feminist scholars in Science, Technology, and Society (STS) studies. Drawing on frameworks from articulation, repair, and mutual shaping, I examine workers’ interpretations and interactions, to ask how new subjectivities around identity and community emerge from these entanglements. To shed empirical light on these processes, this dissertation employs a mixed-methods research design examining the introduction of facial recognition into the sociotechnical systems of algorithmic management. Data include 22 in-person interviews with workers in New York City and Toronto, a survey of 100 workers in the United States who have been subjected to facial recognition, and analysis of over 2800 comments gathered from an online workers’ forum posted over the course of four years.Facial recognition, like algorithmic management, suffers from a lack of empirical, on-the-ground insights into how workers communicate, negotiate, and strategize around and through them. Interviews with workers reveals that facial recognition evokes polysemia, i.e. a number of distinct, yet interrelated interpretations. I find that for some workers, facial recognition means safety and security. To others it means violation of privacy and accusations of fraud. Some are impressed by the “science-fiction”-like capabilities of the system: “it’s like living in the future.” Others are wary, and science fiction becomes a vehicle to encapsulate their fears: “I’m in the [movie] The Minority Report.” For some the technology is hyper-powerful: “It feels like I’m always being watched,” yet others decry, “it’s an obvious façade.”
Following interviews, I build a body of research using empirical methods combined with frameworks drawn from STS and organizational theory to illuminate workers’ perceptions and strategies negotiating their algorithmic managers. I operationalize Julian Orr’s studies of storytelling among Xerox technicians to analyze workers’ information-sharing practices in online forums, to better understand how gig workers, devices, forums, and algorithmic management systems engage in mutual shaping processes. Analysis reveals that opposing interpretations of facial recognition, rather than dissolving into consensus of “shared understanding,” continue to persist. Rather than pursuing and relying on shared understanding of their work to maintain relationships, workers under algorithmic management, communicating in online forums about facial recognition, elide consensus. After forum analysis, I then conduct a survey, to assess workers’ fairness perceptions of facial recognition targeting and verification. The goal of this research is to establish an empirical foundation to determine whether algorithmic fairness perceptions are subject to theories of bounded rationality and decision-making.
Finally, for the last two articles, I turn back to the forums, to analyze workers’ experiences negotiating two other processes with threats or ramifications for safety, privacy, and risk. In one article, I focus on their negotiation of threats from scam attackers, and the use the forum itself as a “shared repertoire” of knowledge. In the other I use the forums as evidence to illuminate workers’ experiences and meaning-making around algorithmic risk management under COVID-19.
In the conclusion, I engage in theory-building to examine how algorithmic management and its attendant processes demand that information-sharing mechanisms serve novel ends buttressing legitimacy and authenticity, in what I call “para-organizational” work, a world of work where membership and legitimacy are liminal and uncertain. Ultimately, this body of research illuminates mutual shaping processes in which workers’ practices, identity, and community are entangled with technological artifacts and organizational structures. Algorithmic systems of work and participants’ interpretations of, and interactions with, related structures and devices, may be creating a world where sharing information is a process wielded not as a mechanism of learning, but as one of belonging.
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Boog, Hervé. "L'image principale de profil, symbole de l'individu connecté". Thèse, 2015. http://hdl.handle.net/1866/15939.
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Depuis le début du XXIe siècle, un type particulier d’images a envahi l’espace public constitué par Internet : il s’agit des images principales de profil, ces images que les utilisateurs de sites de réseaux sociaux choisissent pour les représenter auprès des autres individus connectés. Comme le plus souvent il s’agit d’une image du corps de celui ou celle qui s’affiche ainsi, il est intéressant de s’intéresser à cette pratique en la rattachant à des pratiques plus anciennes. Dans un premier temps, cette étude présente donc une perspective socio-historique en notant la ressemblance de la pratique de l’image principale de profil avec celle de l’autoportrait et du portrait commandé. Cela permet de remarquer plusieurs points de rupture ou d’inflexion dans l’usage de ce type d’images, mais aussi d’en dégager les usages sociaux typiques. Ensuite, l’observation d’un lieu particulier d’Internet permet de tirer les conclusions suivantes : si l’usage principal de ces images est facile à expliquer, elles servent à symboliser une présence dans des lieux non accessibles aux corps sensibles, ces images montrent toujours des éléments qui permettent de déduire une position sociale et elles sont fondamentalement identiques aux images produites avant Internet. Ensuite, l’étude de ces images montre qu’il y a un véritable continuum dans la manière de dévoiler son intimité qui permet d’affirmer que la frontière entre public et privé n’existe pas sur Internet. Finalement, ces images montrent une absence de canon quant à leur production et une multiplicité des façons de se mettre en scène qui laissent à penser qu’elles sont devenues des symboles à part entière dans la communication qui peut s’établir entre des étrangers sur Internet.Since the beginning of the century, a new type of images is becoming more and more common in the public space built on the Internet : the profile’s main picture, these images network sites’ users are using to symbolize their self. It’s generally a picture of the Internet user’s body, which leads to a practice already existing. The first step of this essay is a sociohistorical perspective allowed by noticing that profile’s main picture are often self-portraits. It is then possible to establish a continuity between the practices of past centuries and what is visible on the Internet nowadays. The study of self-produced body images shows a gradual spread of their use from the wealthy to the lower strata of society until the mid-twentieth century. They were used mainly to show social status. After falling into disuse, this type of image is now used by one out of three persons worldwide. The observation of a particular Internet web site has allowed the collection of hundreds of main profile’s pictures. Their analysis has the following conclusions: If the main use of these images is to symbolize a presence in areas not accessible to sensitive body, these images still show elements that can be used to infer a social position and are substantially identical to the images produced before the Internet. Then, the study of these images shows that there is a real continuum in the way someone’s intimacy is revealed proving that the border between the public and the private does not exist on the Internet. Finally, these images show a lack of canon on their production and a multiplicity of ways of staging that suggest they have become meaningful symbols in the communication that can be established between strangers on the Internet.
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Willis, Robin M. "Street life : a case study on the social impact of participating in a film project on youths from the streets of Durban". Thesis, 2011. http://hdl.handle.net/10413/8263.
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In the spring of 2010, I worked with four street youths from Durban to create a short
fictional film based on their lives. There were two main components to this project:
first, a series of drama workshops and second, the film-making process. The filmmaking
process consisted of the participants improvising scenes based on their street
lives that I captured on film. This project engaged with Theatre for Development and
Participatory Video practices.
The young man who initiated this project did so because he wanted to change people’s
perceptions of youths who lived on the streets. Additionally, he wanted to change his
own perceptions of himself.
The film provided baseline data regarding how the participants viewed themselves and
their lives on the streets. Analysis of interviews conducted after the completion of the
project, when compared with the baseline data, demonstrated social impacts that
occurred as a result of making the film. This data was coded and interpreted using
François Matarasso’s (1997) positive criteria for the social impact of participating in
arts projects as well as corresponding negative categories that I generated.
The film, once coded, demonstrated that the participants felt negatively about their
lives on the streets, with many examples emerging from the categories Lack of Social
Cohesion and Lack of Agency. In contrast, the interviews revealed positive social
impacts across all categories, but especially in relation to Personal Development, Local
Image and Identity, and Community Empowerment and Self-Determination (Matarasso
1997). The participants reported that they felt differently about themselves as a result
of the project. They also said that there had been a change in the way some people
treated them.
Findings revealed that the film project resulted in positive social impacts on the street
youth participants. As a result of the film, they engaged in critical thinking and
reflection related to Paulo Freire’s (1970) notion of praxis. They also wished for
changes in their lives and in some cases enacted change. It was significant that social
impacts and change extended to youths in difficult circumstances.
In conclusion, this research proved that participating in the film project broadened and
enriched the lives of the participants. Problems arose in terms of sustainability.
Further projects and research are needed to establish the possible impacts from longterm
and sustainable arts projects on youths from the streets.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
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Asenas, Jennifer Nichole 1977. "The past as rhetorical resource for resistance : enabling and constraining memories of the Black freedom struggle in Eyes on the prize". 2007. http://hdl.handle.net/2152/15859.
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I began this project with the question of how today's social justice activists might find a useable history in a massively influential text like Eyes on the Prize. Thus, the broad question that motivated this rhetorical inquiry was: what means are available to people interested in social change, but whose access to the resources to influence society is limited? One important resource that oppressed peoples can lay claim to is a shared sense of the past. Through a critical analysis of Eyes on the Prize, this dissertation examines shared memory as a resource for rhetorical production. I am interested not only in how the past is re-presented in the documentary, but also what resources the documentary provides its audience to consider and take action for social change. The films present memories that complicate or run counter to the dominant narrative of the black freedom struggle and thereby make available a reservoir of rhetoric power for a political present. My analysis suggests that Eyes on the Prize does not contradict public memory's dominant values of the black freedom struggle, but it does resist their blind adherence. The documentary does not force viewers to take sides on divisive issues like separation/integration or violence/nonviolence. Instead it allows them to realize that these concepts are dialectical. These are, in my estimation, productive tensions. Eyes on the Prize is an excellent pedagogical tool for producing citizen activists. Although activism gives way to electoralism by the end of the documentary, activism is portrayed positively in the documentary. There are certainly costs to activism, as some activists experienced in the most extreme way. However, the heroes of Eyes on the Prize are certainly the activists. In an analysis of a text's rhetorical potential, it is also necessary to acknowledge how the text limits rhetorical possibility. Significantly, Eyes on the Prize inadequately addresses the importance of class in the black freedom struggle. The lacuna of class in the documentary neglects fundamental changes in the goals and tactics of the black freedom struggle and limits the material and psychological structures that maintain racism.text