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Fitzmorris, James McKay. "Summoning the spectacle /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/10221.
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Krishnan, Sherly Rishi, i Christopher Fisher. "A Virtual Spectacle". Thesis, Uppsala universitet, Institutionen för speldesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384232.
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Our goal was to create an enhanced spectator experience to better engage the rapidly growing audience for Esports, through the use of Virtual Reality (VR) technology. In this study, we delve into the ways in which VR can do this. To test this hypothesis, we created a VR spectator add-on for a game and gathered data using semi-structured interviews. The data from the interviews were then analyzed using thematic analysis. The results of our study show that VR provides more engagement through a combination of possible factors including proximity to the action, novelty of VR experiences and the harder controls in VR. The results also show that the terms "immersion" and "spatial presence" were quite possibly used interchangeably by the participants and also that there may not be a correlation between the terms "engagement" and "spatial presence". In conclusion, we believe that the increased sense of engagement through VR technology can be taken even further and has the potential to be something more than what traditional modes of spectating can offer.
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Trevien, Claire. "Revolutionary prints as spectacle". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/54059/.
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The Revolutionary era was a period of radical political change in France which dissolved traditional boundaries of privilege. It was also a time of creative experimentation on the stage, the street, and in print. Performance and theatrical language were an integral part of the French Revolution. This interdisciplinary thesis makes a vital contribution to knowledge of the cultural production of the French Revolution by analysing the theatrical influences in its satirical prints. It argues that printmakers drew from different aspects of Revolutionary performance to create their prints, from street singers and fairground performers to unsanctioned Revolutionary events and topics favoured by the stage, including the representation of Revolutionary characters in hell. These depictions – observed for the first time under thematic banners – provide a new insight into the multiplicity of opinions, beliefs and attitudes during the French Revolution.
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Lane, Katherine Ann. "Spectacle of the Missing". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1216670444.
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Donsker, Mayme. "Between Nothingness And Spectacle". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2770.
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Looking closely at anonymous subjects in found photographs to jog collective memories and point at gestures, bodily traces of complexity, connectedness or just a quiet moment where nothing monumental is really happening; a pause for distance, a pause for discernment, there is no real difference between nothingness and spectacle.
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Huang, Gang. "A journey of spectacle between London and Shanghai : (an)other hermeneutics of spectacle". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23050/.
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This thesis is aimed at exploring a different interpretation of the spectacle. The existing literature is based on Situationism and the Frankfurt School’s interpretation within which the society of spectacle is demonstrated to not only visually encapsulate the subjects in an enchanting commodification but also restrict the perceptual experiences to regular boredom through such repetitive and exclusive rendition. This criticism rests on a Hegelian and Marxist reading and suggests that the alienating and un-lifelike phantasmagoria of commodification haunts people's daily lives and subjugates the personal struggle that emancipates the subject from being reified in alienation to being unitary in intimacy. The dialectical negation imposed upon the spectacle is challenged in this work by a divergent hermeneutics, which relocates the spectacle in an epistemological complex drawing inspiration from Bataille’s general economy of excess expenditure, Foucault/Deleuze's genealogy, Benjamin's historiography, Barthesian semiological analysis, and Baudrillard’s hyperreal simulacra. Illuminated by this different hermeneutics, the spectacle is rather a kind of unproductive expenditure, which is heterogeneous to dissipate the excess restrictively exuded from the homogeneous mechanism of production in utility as irreducible to realistic production. Thus, the society of spectacle is not negative to the productive mechanism but inhabits it to have incapacity wherein an unreserved play of images is restricted by utility and territorialised fragmentarily by different political-sociological milieus to prohibit the channel of excess towards an unconditional expenditure as an unruly and destructive torrent. The solution is to blur and transgress the restriction, rather than negate it, whereby to fuse the prohibited and the allowed in restriction as a visual hybridity of incompatibilities. Then, a journey of spectacle between London and Shanghai is a concrete method of substantiating this visual fusion as an experiential and incommensurable distribution that drifts between different spatiotemporal fragments on the surface of multiple images. This optical disparity is not restricted to a bourgeois-ruled phantasmagoria but transgressive to uncover time flow to recollect and merge the hidden and accursed heterogeneities outpoured from revolution.
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Fittock, Dominique Raye. "Panathenaia : the spectacle of politics /". Title page, contents and introduction only, 2002. http://web4.library.adelaide.edu.au/theses/09AR/09arf547.pdf.
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Buy, Frédéric. "L'organisation contractuelle du spectacle sportif". Aix-Marseille 3, 2001. http://www.theses.fr/2001AIX32030.
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Malgré l'interventionnisme croissant de l'Etat et l'indéniable publicisation qui en résulte, le sport reste profondément ancré dans le droit privé. Le contrat constitue en effet l'élément fondateur de l'activité, et son rôle apparaît au grand jour à travers la façon dont s'organise le spectacle sportif. Quelles sont les caractéristiques de l'activité contractuelle qui crée le spectacle ? Le spectacle justifie-t-il un régime contractuel spécifique ? Telles sont les deux questions essentielles auxquelles se propose de répondre la présente étude. Sont ainsi évoqués, en premier lieu, les principaux contrats constitutifs du spectacle. Entre acteurs du mouvement sportif et agents économiques extérieurs, se développe un tissu de relations fort complexe fondé sur des contrats d'engagement, de télévision, de publicité, d'intermédiaire, d'assurance, etc. . . , et régi par un ensemble de règles originales dont la source est à la fois étatique et corporatiste. .Despite increasing State intervention and the undeniable application of public law that follows, sport remains firmly anchored in private law. Indeed, the contract is the founding element of this activity, and its role is clearly shown in the manner in which sporting events are organized. What are the characteristics of the contract-related activities which create the sporting event ? Do sporting events require specific contracting regulations ? These are the two main questions that the present study aims to answer. First, the main contracts establishing the event will be considered. A complex web of relations develops between figures in the sporting world and external financial agents based on employment, television, advertising, intermediary and insurance contracts, etc. . . Which is governed by a set of regulations of state and corporatist origin. .
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Buy, Frédéric. "L'organisation contractuelle du spectacle sportif /". Aix-en-Provence : Presses universitaires d'Aix-Marseille, 2002. http://catalogue.bnf.fr/ark:/12148/cb39080534z.
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King, Taylor Z. "A Spectacle and Nothing Strange". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.
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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room.
‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Chehilita, Émilie. "La critique de la « société du Spectacle » à l’essai sur les scènes théâtrales de Berlin, Londres et Paris dans les années 2000 : spectacle dans le spectacle, la société spectaculaire et marchande au prisme du spectacle vivant". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100076.
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Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possiblesThis thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible
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Nelson, Wade Gordon James. "Never mind the authentic : you wanted the spectacle, you've got the spectacle (and nothing else matters?)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40173.pdf.
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Merritt, Juliette. "Beyond spectacle : Eliza Haywood's female spectators /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0014/NQ42865.pdf.
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Pearson, Meg Forbes. "Spectacle in early modern English drama". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3780.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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SCHITTINO, RENATA TORRES. "TERRORISME: LA VIOLENCE POLITIQUE COMME SPECTACLE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7680@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORCe travail propose établir une explication pour le terorisme en considérant que ce n´est que dans la contemporanité que cette manifestation se développe en tant qu´une politique autonome. A partir des annés 70, il est possible de constater l´éclosion d´attentats terrorristes ayant l´intention d´intervenir dans le processus historique à travers une violence haussé à la catégorie de spectacle. En analisant la constitution fondamentale du terrorisme - contenu politique et forme spectaculaire -, on remarque le caractère anachronique de cette manifestation face à la societé démocratique soi-disant pacifiée. En observant l´ambiguïté de la diffusion des images comme des marchandises-entretiens - on révèle la difficulté de réalisation des prétention révolutionnaires du terrorrisme. La concrétisation politique de cette manifestation sera retrouvée dans les possibilités ouvertes par la divulgation des images de violence qui se composent, non pas comme une alternative au système en vigueur, mais comme un lieu contemporain de rèsistance à la réalisation de l´histoire.
O trabalho propõe estabelecer uma explicação para o terrorismo, considerando que apenas na contemporaneidade essa manifestação se desenvolve como política autônoma. A partir da década de 1970, é possível constatar a ocorrência de atentados terroristas que pretendem intervir no processo histórico através da violência elevada à categoria de espetáculo. Analisando a constituição fundamental do terrorismo - conteúdo político e forma espetacular -, nota-se o caráter anacrônico da manifestação diante da sociedade democrática pretensamente pacificada. Observando a ambigüidade da difusão de imagens de violência, que ao mesmo tempo coloca em evidência uma determinada causa política e vende as imagens como mercadoria- entretenimento, revela-se a dificuldade da realização das pretensões revolucionárias do terrorismo. A efetividade política dessa manifestação será reencontrada nas possibilidades abertas pela divulgação das imagens de violência; compondo- se não como alternativa ao sistema vigente, mas como o lugar contemporâneo de resistência à realização da democracia.
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Hwang, Margaret (Margaret Juien-Yuan). "Machine couture : manufacturing as consumer spectacle". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45967.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008."September 2008." Pages 58-59 blank.
Includes bibliographical references (p. 57).
By creating spectacle through architecture, clothing Labels have developed new branding techniques through which to redefine and provoke. However, the essential behind-the-scenes models of production have remained the same: consumption, manufacturing, and distribution are linked but always independent. This thesis proposes to compress the stages of production for a new type of spectacle: a consumer factory that uses the process of manufacturing as a branding technique. Set in Shanghai, the project studies how retail and manufacturing spaces can intersect to elevate the consumer experience. Through this co-dependency, manufacturing remains within the city's urban fabric and provides an experiential consumer environment new to the traditional retail models of China.
Margaret Hwang.
M.Arch.
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Marie, Caroline. "Virginia Woolf : le roman du spectacle". Paris 4, 2003. http://www.theses.fr/2003PA040246.
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A l'instar d'Orlando, The Waves, The Years et Between the Acts, les arts du spectacle au début du XXe siècle sont polymorphes et en pleine métamorphose. Cette analyse met en évidence des similitudes entre les romans et les pièces connues de Virginia Woolf. Elle convoque surtout les grandes théories du spectacle qui marquent la modernité pour confronter les stratégies narratives et polémiques mises en œuvre par la romancière à la palette de techniques utilisées par les dramaturges, les scénographes et les cinéastes de son temps. En effet, c'est moins le théâtre que la théâtralité, moins les spectacles que la spectacularité qui fertilisent le roman woolfien. Les traits spectaculaires transférables au genre de la fiction forment au sein des romans un riche réseau sémiotique. Ils font des romans la scène de multiples transformations, un champ d'action et d'expression ainsi qu'un espace de distanciation et de libération. Ils participent à la dimension métanarrative de l'oeuvre woolfienAt the turn of the twentieth century, the performing arts are polymorphous and ever-evolving, just as Virginia Woolf's novels, especially Orlando, The Waves, The Years and Between the Acts. This study highlights similarities between these novels and some plays that Woolf had read or seen. First and foremost, it refers to major modern theatrical theories to compare Woolf's narrative and polemical strategies with those of the playwrights, scenographers and film-makers of her time, whether she knew these conceptions or not. Indeed theatricality and spectacularity, defined as systems of traits that may be transferred to other artistic genres, shape Woolf's fiction more than specific plays. As a web of effective metaphors theatricality and spectacularity partake to the creation of meaning in the novels. They bring about the motives of transformation, action and expressivity while allowing for distanciation and critical awareness
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Barget, Éric. "Le spectacle sportif ponctuel : essai d'évaluation". Limoges, 2001. http://www.theses.fr/2001LIMO0486.
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Dans cette thèse, des instruments d'analyse économique des spectacles sportifs ponctuels dans leur contexte régional sont proposés. Il est établi que c'est autour de l'opposition entre valeur et impact économique que la réflexion pourra se structurer. Une première expérimentation de l'analyse couts-avantages des spectacles sportifs est proposée ainsi qu'un survey des nombreuses études d'impact économiques réalisées dans le passé. Il est envisagé de tendre vers une systématisation de ce type d'approches dans le cadre des travaux en cours sur la recherche de méthodes standard d'évaluation des politiques publiques
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Foy, Elizabeth. "Spectacle: Framing the Midwestern Art Community". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.
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Henry, Boris. "Tod Browning, le spectacle du corps". Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10080.
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A partir de l'ensemble des films de Tod Browning actuellement visibles, nous tentons de repérer, cerner et analyser certains des motifs, figures, procédures présidant au spectacle du corps. Après un préambule qui replace Tod Browning dans l'Hollywood des années dix à trente et plus largement dans l'histoire du cinéma, nous nous attachons à l'importance de la nomination dès le commencement du film (titre, générique, première phrases et premiers plans); puis, à la nature et à l'espace du spectacle diégénétique : quels sont les numéros présentés ? quels sont leurs enjeux ? Cela nous conduit aux coulisses du spectacle et au spectacle des coulisses, puis aux procédures d'encadrement comme rhétorique de l'avalement. Il s'agit des ouvertures et de leurs éléments - issus du décor (portes, fenêtres, rideaux. . . ), filmiques (ouvertures et fermetures au noir, mouvements de caméra. . . ), symboliques. . . - conçus comme frontières, lieux de passage et instruments de réduction des espaces. Le spectacle est le lieu de présentation d'un corps ce qui, chez Tod Browning, implique des procédures de nomination, une onomastique particulièrement significative et la mise au travail des problèmes de l'exhibition, car le spectacle présente notamment des corps monstrueux : ceux des malfaiteurs, médiums, phénomènes de foire, artistes. Le corps orchestre alors la mise en scène du spectacle, deux procédés plus particulièrement en attestent : le retournement et le travail du burlesque. Le spectacle est une recréation du monde, il fait donc maquette par rapport au social extérieur - notamment par le travail - et il est le lieu du tout possible, de la transgression des tabous - le corps apparaît alors comme un instrument de perversion et de subversion de l'ordre, il recourt à quelques moteurs (stimulants, érotisme et sexualité) - , du rêve, du merveilleux. Il intègre et véhicule des formes de symbolisations archai͏̈ques - l'animalité, les mythes -, tandis que les croyances religieuses et superstitieuses sont traitées tel un spectacle.
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Marcoux, Krystina. "Une méthodologie unique du spectacle vivant : d'après l'analyse des spectacles de Georges Aperghis et de Thierry De Mey". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2053.
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L’histoire nous démontre que le rapprochement entre les disciplines a toujours fasciné les créateurs, depuis Aristote à Mnouchkine, en passant par Wagner, Brecht, Molière ou encore Nono. Le spectacle vivant, le théâtre musical, le théâtre instrumental ou encore les créations spectaculaires transdisciplinaires constituent des formes de création artistique qui ne connaissent ni canevas ni forme préétablis, ce qui en fait leur richesse. Au-delà d’un problème de terminologie, ce genre, tel qu’il s’est développé à partir de la seconde moitié du XXe siècle, a une méthodologie de création unique, qui trouve notamment son origine dans l’implication des interprètes qui en réalisent la création.Le présent travail aborde l’histoire de la relation qui a pu exister entre théâtre, musique et danse en abordant deux grandes ruptures (Louis XIV et Wagner) qui éclairent la division marquée des genres artistiques aujourd’hui. C’est par l’étude du corpus de Georges Aperghis et Thierry De Mey qu’est présentée une méthodologie unique de création du spectacle vivant, une méthodologie largement inspirée du théâtre, du cinéma et de la danse. L’auteure passe ensuite en revue ses six dernières années de créations par le biais d’une auto ethnographie. Un guide méthodologique du spectacle vivant vient terminer ce travail, présentant des outils de travail précis et des réflexions qui sont le fruit de recherches et d’expérience de créations, de même que des questionnements auxquels tous créateur de spectacle vivant sera confronté dans soncheminementHistory has taught us that the crossroads among different artistic disciplines has always captured the imagination of creative minds such as Aristotle, Molière and Nono to name a few. Le spectacle vivant, musical theatre, instrumental theatre and other forms of transdisciplinary creations stand as a unique art-form, as they were initially conceived without any pre-established structures giving them greater freedom in both the creative process and result. Developed after WWII, the unusual methodology of this genre is fundamentally based on the active participation and artistic engagement of the performers within the process of creation.This dissertation addresses the historic relationship that exists among music, theatre and dance discussing in depth two major historical breakdowns, Louis XIV and Wagner which resulted in the division among such disciplines. Through the analysis of works by Georges Aperghis and Thierry De Mey, this thesis will present two personal and unique methodologies of spectacle vivant greatly influenced by dance, cinema, and theatre. In addition, a comparative analysis of the works -spectacle vivant- developed over the last six years by the author of this thesis will be included. Personal reflections on the process of creation, from a research and performative perspectives, will be shared and discussed. This thesis will also present a methodological guide to the studied works with hopes of contributing to further academic research and a wider public appreciation of this unique art form
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Bouquillion, Philippe. "Spectacle vivant et télévision : analyse socio-économique comparée du spectacle vivant et de la télévision en France pendant les années quatre-vingt". Grenoble 3, 1993. http://www.theses.fr/1993GRE39009.
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L'obtention de financement est liee de facon croissante a l'audience realisee ou au niveau de notoriete. Pour atteindre ces objectifs, le spectacle vivant et la television ont developpe trois logiques d'adaptation : le recours a la communication se developpe, les contenus sont rationalises et la diffusion est favorisee au detriment de la production. Ces trois tendances entrainent une hausse des couts. Cette hausse des couts est particulierement grave pour le spectacle vivant car sa demande est decroissante et parce que les emissions de spectacle diffusees par la television sont rares et peu remuneratrices. Par ailleurs, la television exerce des effets structurants sur le spectacle qio concourent a la hausse des coutsAt the end of the 80', fund rising depends on the audience and the notoriety in order to reach that objective : advertising is developing, the content is standardized and the diffusion system is favoured. These tendances have increased the costs rise. This problem is particulary important for the performing arts because the consumption is decreasing and because the tv channels are not intrested in broadcasting art programs
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Odell, Heather Miranda. "Ex manubiis : literary representations of Flavian spectacle". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52866.
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The Roman emperor Vespasian was declared emperor in absentia at the end of 69 CE, the Year of the Four Emperors; he was the first man from outside the Julio-Claudian family to hold imperial power for more than a few months, remaining in power until his death in 79 CE and succeeded by his son Titus. Vespasian won the conflict with military force, but once in power he faced the unique challenge of demonstrating the legitimacy of his reign without the pedigree of an old Roman family name to draw upon, and so he relied on other means of stabilizing his power. Vespasian returned to Rome bearing an influx of wealth from the Judaean War, and he funded lavish spectacles and buildings like the Colosseum from the spoils (ex manubiis).
Vespasian’s buildings and spectacles were impressive displays of his wealth and generosity to the people of Rome, but spectacles can only awe and impress the immediately present audience in Rome for the short time that they last; the Colosseum stays standing as a reminder, but it is inert without its shows. Written descriptions of the spectacle, on the other hand, could travel widely and cheaply, extending the reach of Vespasian’s grand displays through time and space. This thesis is concerned with two such pieces of writing: Josephus’ description in Bellum Judaicum of Vespasian and Titus’ double triumph in 71 CE; and Martial’s Liber Spectaculorum, a collection of epigrams about the inaugural games of the Colosseum in 80 CE. I argue that these literary representations of spectacle effectively reproduced the original spectacles for the reading audience through a variety of rhetorical and literary techniques, ultimately presenting an affirmative view of Flavian rule over the Roman empire, and Roman rule over the world.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Lewis, Simon John. "The aesthetics of spectacle in mainstream cinema". Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/8781/.
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This thesis seeks to develop an aesthetics of spectacle in mainstream cinema. Whilst a significant amount of critical work has been undertaken on spectacle within the context of narrative theory, little attention has been paid to defining and analysing spectacle in itself and its place in the cinematic experience. Not only does this mean that a pervasive concept in film studies is left poorly defined and unconsidered, it also hampers an understanding of the nature of the cinematic experience itself. The central question addressed by the thesis is ‘What is the role of spectacle in the cinematic experience, with particular reference to mainstream cinema?’ This involves a consideration of the ways in which spectacle has been treated in theoretical terms to date. In particular, the contribution of cognitive approaches is critically assessed with a view to establishing a more inclusive framework that recognises the experiential nature of cinematic spectacle. In the light of this, the thesis proposes a new critical model for understanding spectacle, one based on a notion of transmission which presents narrative and spectacle as coexistent within the cinematic experience rather than as antithetical qualities. As another aspect of this, the thesis considers the historical development of spectacle in the context of spectatorship at the time of early cinema at the end of the nineteenth century. The latter part of the thesis applies its definition of spectacle to specific elements of the cinematic experience, namely the use of technology and miseen-scene. It thereby engages with the aesthetics of spectacle within particular contexts and conditions. This exercise makes it clear that far from being a marginalised element, as suggested by current narrative-centred film theory, spectacle is central to the cinematic experience.
25
Peseux, Valerie. "100 ans de cinéma à grand spectacle". Paris, CNAM, 2001. http://www.theses.fr/2001CNAM0413.
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L' @histoire et l'élaboration des "formats spéciaux" (formats larges, cinémas panoramique, hémisphérique, circulaire, stéréoscopique et dynamique) sont internationales, mais nous nous sommes attachés plus particulièrement à la France. Envisagé dans un champ disciplinaire particulier, l'histoire des techniques, le "cinéma à grand spectacle" vise, depuis les origines, à dépasser les limites d'un cinéma trop conventionnel et à se rapprocher du "cinéma total"́. Notre étude suit un plan chronologique et thématique où se distinguent trois périodes clefs : "Les précurseurs (1895-1949)", "Le développement et l'exploitation des formats spéciaux (1950-1959), "Vers de nouveaux marchés : de la salle de cinéma au parc d'attractions (de 1960 à nos jours)". La première partie rend compte des recherches et inventions des précurseurs, le plus souvent exhibées dans les manifestations à grand spectavle. La deuxième partie s'attache à examiner la période d'application des formats spéciaux dans le cinéma traditionnel, période quálifiée de "course aux nouvautés" et de "guerre des formats". Les promoteurs américains tentent ainsi de bouleverser l'industrie cinématographique et de contrecarrer la baisse de fréquentation des salles de cinéma. Enfin, la troisième partie met en évidence le repositionnement des procédés spectaculaires sur de nouveaux marchés : Expositions unverselles, parcs d'attractions et musées scientifiques et techniques. Avec deux procédés majeurs, Imax et Omnimax, la société canadienne Imax Corporation règne depuis plus de 20 ans sur ce secteur de loisirThe history and setting up of "special-sized formats" (wide creen formats, panoramic, hemispheric, circurlar, stereoscopic and dynamic cinemas) are international, but we have chosen do focus on France. Conceived from a disciplinary angle, the history of techniques, "spectacular cinema" has aimed, from the origins, at going beyond limits of a too conventional cinema and at getting closer to "total cinema". Our study follows a chronological and thematic plan which distinguishes three key periods : "The forerunners (1895-1949), The development and operating of "special-sized formats (1950-1959),"Towards new markets : from the cinema to the amusement parks (from 1960 to nowadays)". The first part reviews researches and forrunners' inventions, mostly displayed in "spectacular shows". The second part is dedicated to the period of the "special-sized formats" in the traditional cinema ; this period is qualified as a "race for novelties" and "format war". Thus, the American promoters have tried seriously to upset the cinema industry and to thwart the decrease of the cinema-going. Finally, the third part highlights how spectacular processes have focused on new markets : world fairs, amusement parks, scientific and technical museums. The Canadian company, Imax Corporation, has prevailed over the leisure field for more than 20 years, with an undivided supremacy, thanks to its major processes : Imax and Onimax
26
Caro, Simon. "Baltasar Graciá́n et le spectacle de l'argumentation". Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10022.
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Ce travail de recherche s'attache à décrire l'argumentation dans l'oeuvre de Baltasar Gracián. La première partie rend compte de la nature méga-argumentative des traités du philosophe espagnol : la rhétorique en tant que sujet de réflexion apparaît comme étant un des sujets d'attention privilégiés de l'auteur. La deuxième partie s'intéresse à l'argumentation proprement dite développée par Gracián dans le "Criticón" : le vocabulaire rhétorique, les idées dominantes, les séquences argumentatives principales sont décrits au moyen d'outils rhétoriques, sémiotiques et pragmatiques qui contribuent à percer le secret mystique contenu dans la dernière page du "Criticón". Une étude argumentative détaillée d'extraits empruntés à l'oeuvre de Gracián vient clore l'étude de chaque chapitre.
27
White, Christine A. "British theatre scenography : the reification of spectacle". Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445286.
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Crowder, Craig Alan. "IDENTITY, SPECTACLE, AND EMBODIMENT IN SOCIAL PROTEST". UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/94.
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This dissertation examines the way rhetorical performances of identity function within a social movement. Examining the University of Kentucky chapter of a campus activist organization, United Students Against Sweatshops, I argue that embodied performances of identity often leverage spectacle in disruptive ways and work not only to solidify activists’ identities as part of a social movement but ultimately help to create solidarity within the movement, thereby working toward movement objectives. Historically under-examined in social movement literature in the rhetoric and composition tradition, identity performance examples are taken from an oral history project and archival materials to show how identity is constructed and reinforced in ways that make it an important tool with which to achieve social movement goals.
29
Drake, Latoya. "Commodification of voting celebrity, spectacle and social movements /". CONNECT TO ELECTRONIC THESIS, 2006. http://hdl.handle.net/1961/3599.
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Banyard, Kylie Jane Art College of Fine Arts UNSW. "Phantom in the corner: staging a gothic spectacle". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43082.
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My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.
31
Abbot, Simone Rochelle. "Sounds and spectacle : the highland bagpipe in Adelaide /". Title page, contents and introduction only, 1990. http://web4.library.adelaide.edu.au/theses/09AR/09ara129.pdf.
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Feinberg, Matthew Isaiah. "LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE". UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.
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Informed by the theories of Henri Lefebvre regarding the production of space and the theories of scale found in current scholarship in Cultural Geography, my methodology analyzes both dramatic texts and theater spaces to investigate how cultural production and capital converge in the “spectacle” of urban space. While employing this term “spectacle” to describe how dramatic texts, theater productions, and modern architecture transform the urban landscape into a metaphoric theater space for the production of local, national, and global identities, this project examines the relationship between theater and urban change in Lavapiés, an iconic, multicultural, and oftenunderserved neighborhood located in the Embajadores district of Madrid, Spain. Against the historical backdrop of the neighborhood’s long and important relationship with theater and theater spaces from the seventeenth century onwards, I analyze a range of urban spectacles taking place in Madrid between 1997 and 2006. This analysis includes close readings of contemporary plays that represent the urban space of Lavapiés and Madrid, an analysis of the architecture of power articulated in the the municipal government’s Plan General de Ordenación Urbana de Madrid 1997 [Plan for Urban Development for Madrid 1997] and the recently constructed Teatro Valle-Inclán Centro Dramático Nacional [National Drama Center]. Finally, I look at the cultural activities of the squatters (okupas) of the Laboratorio 03 who between 2002 and 2003 transformed an abandoned warehouse into a space for art, theater, and cyber resistance that sought to shatter the illusion of capitalist spectacle projected by the gleaming steel and glass of the new condominiums and cultural institutions represented by the aforementioned Teatro Valle-Inclán. Overall, this project looks to this range of traditional and nontraditional texts to illustrate how Madrid’s historical dynamic between urban space, power, and theater continues to be manifested in the contemporary spectacle of Lavapiés.
33
Lee, Jae-Chol 1968. "A room in the room : a private spectacle". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/76083.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (leaves 40-41).
"A Room in the Room" is a temporary site-specific installation in which I constructed a room inside of my private room, located at 352 Marlborough Street in Boston. The inner room, accessible by the second door of my room, forms an enclosure made out of transparent glass walls. Visitors enter the inner room to share my visual and sound experiences, but not physically to cross the transparent walls. With my performance living between two walls and avoiding any communication with visitors, I expose my private spectacle to the visitors, giving them the sense of strangeness that I am used to in a public space. Reconstructing and revealing the inside space of our spatial, social, psychological boundaries result in an individual and collective narrative. Thus the transparent boundary as a metaphor of physically constructed psycho-social boundaries, examines my strangeness in a room and realizes the invisible walls in our social landscape.
by Jae-Chol Lee.
S.M.
34
Montebello, Fabrice. "Spectacle cinématographique et classe ouvrière : Longwy (1944-1960)". Lyon 2, 1997. http://www.theses.fr/1997LYO2A003.
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Suhner, Clotilde. "Jeu et spectacle dans l'oeuvre de Boris Vian". Nancy 2, 1997. http://www.theses.fr/1997NAN21014.
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Nous avons choisi de mener l'étude du spectacle chez Boris Vian à deux niveaux : celui des textes destinés à la scène et celui des spectacles inclus dans les œuvres. Notre travail, fondé essentiellement sur un examen minutieux des textes, aborde ainsi l'ensemble de l'œuvre vianienne. Nous avons essayé de définir le spectacle dans ses rapports avec le jeu pour montrer ensuite son importance, qu'il s'agisse de théâtre, de chansons, ou de formes dérivées. Nous nous sommes intéressés à ses limites, nous avons tenté de déterminer les cibles auxquelles il s'attaque et la façon dont il permet la communication avec le public. Parallèlement, nous avons cherché à définir les fonctions des spectacles au sein des œuvres et constaté que, s'ils sont essentiels à la structure de multiples pièces et romans, ils contribuent également à rapprocher l'écriture du jeu. Afin de mieux comprendre ces spectacles dans leur complexité, nous avons souhaité les "situer" dans le monde d'aujourd'hui. Ainsi, ils se révèlent le plus souvent "doubles", à la fois critiques et « pataphysiques », tout en permettant aussi à leur auteur de se tenir "à distance". Vian a probablement fait du spectacle l'instrument d'une révolte dandy du plaisir contre la mort, mais la réelle modernité de ces œuvres réside peut-être plus dans leur "second degré" caractéristique de la société contemporaine, et dans un choix : celui de l'image et de l'interactivitéWe have chosen to study what could be called Boris Vian's shows (that is: both drama and variety shows) in two different aspects: that of texts written in order to be performed on stage as well as that of "shows" included in works. So, this study, based on a close examination of texts, deals with the whole of Boris Vian's works (plays, songs and sketches as well as novels or short stories). We have tried to define "show" in connection with play (or game) and we have then pointed out its importance, whether the show should be play, song, or other forms of "show" such as dandyism. We have been interested in its limits; we have endeavored to establish what it aims at as well as the way it allows communication with the audience. At the same time, we have tried to specify what the functions of shows are and we have noticed that, if they are essential to the structure of numerous plays and novels, they also contribute to relate writing and playing. In order to understand Boris Vian's shows better, we have wished to set them in relation to the present-day world. Thus, they prove to be most often dual, at once critical and “pataphysical” and they enable their author to stand aloof. Vian probably used "show" as an instrument to express the "dandy revolt" of pleasure against death, but the true modernity of these works lies perhaps more in their "second degree", typical of the present-day society, and in a choice : that of "picture" and interactivity
36
Collier, Mary Blackwood. "La Carmen essentielle et sa réalisation au spectacle". Paris 4, 1990. http://www.theses.fr/1990PA040104.
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La première partie de cette thèse traite des analyses littéraire et musicale de la Carmen de Prosper Mérimée et de la Carmen de Georges Bizet. Notre intérêt se concentre sur la qualité mythique de Carmen telle que Mérimée la créa et son expression musicale transposée par Bizet. Dans la deuxième partie de cette étude, sept représentations, au vingtième siècle, du personnage de Carmen, sous une forme théâtrale, sont présentées et analysées par rapport à la multiplicité des points de vue sur le personnage principal comme phénomène culturel et social. Quatre adaptations de Carmen ont été choisies pour cette étude : la Carmen Jones d'Oscar Hammerstein, la Carmen de Roland Petit, la Carmen de Peter Brook, et celle de Carlos Saura; et trois interprétations de la Carmen de Bizet et nos jours sont étudiées : celles de Bodo Igesz, de Francesco Rosi, et de Peter HallThe first part of this thesis focuses on literary and musical analyses of prosper Merimee’s and of Georges Bizet’s Carmen. We are concentrating on the mythical quality with which Merimee imbued Carmen and for which Bizet created an expression in purely musical terms. In the second part; seven twentieth-century representations of the character of Carmen in theatrical form are presented and analyzed in regard to the multiplicity of viewpoints on the main character as a cultural and social phenomenon. Four adaptations of Carmen have been chosen for this study: Oscar Hammerstein’s Carmen Jones, Roland Petit's Carmen, Peter Brook's and Carlos Saura's Carmen; and three contemporary interpretations of Bizet’s Carmen are examined : the Carmens by Bodo Igesz, Francesco Rosi, and Peter Hall
37
Bastien, Pascal. "Le spectacle pénal à Paris au XVIIIe siècle". Doctoral thesis, Université Laval, 2002. http://hdl.handle.net/20.500.11794/28589.
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Blacker, Adam Bryce. "Development of a Questionnaire to Measure Spectacle Dependence". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245340681.
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Lasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /". View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.
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Verlinden, Elodie. "Danse et spectacle vivant: réflexion critique sur la construction des savoirs". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210146.
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La thèse aura pour objectif premier de relire les discours scientifiques sur la danse à travers quelques démarches considérées comme illustratives d’une discipline. Ce parcours a pour vocation seconde d’interroger les modes de construction de l’objet danse au sein des études en arts du spectacle vivant. Comment les sciences ont-elles pensé la danse ?Fallait-il penser la danse ?A travers quels questionnements peut-on appréhender la performance dansée sans englober un paradigme plus vaste ?Toutes problématiques qui conduisent non seulement à saisir de manière critique les regards sur la danse mais à élaborer un modèle propre qui pose à la fois la question de l’identité et des processus énonciatifs de la danse au sein du paradigme des « arts du spectacle vivant ».Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
41
Howell-Duffy, Christopher J. "Scientific evidence to support the art of prescribing spectacles. Identification of the clinical scenarios in which optometrists apply partial prescribing techniques and the quantification of spectacle adaption problems". Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/5759.
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Although experiential prescribing maxims are quoted in some optometric
textbooks their content varies significantly and no direct research evidence
was available to support their use. Accordingly in chapters 2 and 3, the
uses of several potential prescribing rules were investigated in the UK
optometric profession. Our results indicated that the subjective refraction
result exerted a strong hold on the prescribing outcome with 40-85% of
optometrists prescribing the subjective result in a variety of scenarios. The
finding that after 40 years qualified, experienced optometrists were three
times more likely to suggest a partial prescription was an important
discovery that provides significant support for the prescribing rules
suggested by various authors. It would also appear from the results of the
retrospective evaluation of the ¿if it ain¿t broke, don¿t fix it¿ clinical maxim in
Chapter 4 that spectacle dissatisfaction rates could be reduced by
between 22 to 42% depending on how strictly the maxim is interpreted by
the practitioner. Certainly an ¿if it ain¿t broke, don¿t fix it much¿ maxim was
suggested as being particularly appropriate. Chapter 5 included a reanalysis
of previously published data that found no change in falls rate
after cataract surgery to investigate any influence of refractive correction
change and /or visual acuity change on falls rate. Unfortunately these data
were not sufficiently powered to provide significant results. In chapter 6, a
spectacle adaptation questionnaire (SAQ) was developed and validated
using Rasch analysis. Initial studies found no differences in SAQ with
gender or age.College of Optometrists
42
Howell-Duffy, Christopher John. "Scientific evidence to support the art of prescribing spectacles : identification of the clinical scenarios in which optometrists apply partial prescribing techniques and the quantification of spectacle adaption problems". Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/5759.
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Although experiential prescribing maxims are quoted in some optometric textbooks their content varies significantly and no direct research evidence was available to support their use. Accordingly in chapters 2 and 3, the uses of several potential prescribing rules were investigated in the UK optometric profession. Our results indicated that the subjective refraction result exerted a strong hold on the prescribing outcome with 40-85% of optometrists prescribing the subjective result in a variety of scenarios. The finding that after 40 years qualified, experienced optometrists were three times more likely to suggest a partial prescription was an important discovery that provides significant support for the prescribing rules suggested by various authors. It would also appear from the results of the retrospective evaluation of the 'if it ain't broke, don't fix it' clinical maxim in Chapter 4 that spectacle dissatisfaction rates could be reduced by between 22 to 42% depending on how strictly the maxim is interpreted by the practitioner. Certainly an 'if it ain't broke, don't fix it much' maxim was suggested as being particularly appropriate. Chapter 5 included a reanalysis of previously published data that found no change in falls rate after cataract surgery to investigate any influence of refractive correction change and /or visual acuity change on falls rate. Unfortunately these data were not sufficiently powered to provide significant results. In chapter 6, a spectacle adaptation questionnaire (SAQ) was developed and validated using Rasch analysis. Initial studies found no differences in SAQ with gender or age.
43
Armstrong, Ann. "Beyond Eden : cultivating spectacle in the Montreal Botanical Garden". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47735.pdf.
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Sava, Sharla. "Cinematic photography, theatricality, spectacle : the art of Jeff Wall /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/3632.
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Bodi, Anna E. "Patty Hearst: A Media Heiress Caught in Media Spectacle". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/639.
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In 1974, decades before foreign terrorists became a fixture in the American consciousness, the Symbionese Liberation Army (SLA), an American domestic terrorist group, abducted nineteen-year-old media heiress Patricia (Patty) Hearst. The abduction kicked off a four decade multi-faceted media spectacle. The media and public raptly followed Hearst’s imprisonment as a hostage, apparent conversion to SLA revolutionary and criminal, eventual rescue and arrest, trial and conviction, presidential pardon, marriage to her bodyguard, half-hearted career as an actress, and ultimate withdrawal from the public eye. Along the way, the media portrayal of Hearst twisted and turned. She was the heiress, the hostage, the criminal, the victim, depending on the moment in time. The varying depictions of Hearst reflected evolving events, but also specific images of Hearst that captured the attention of the American public and the media. Resonant images of Hearst from her kidnapping, arrest, trial, and release – spanning the five years from 1974 to 1979 – demonstrate that the heiress’s case became a magnification of American anxieties of the time concerning celebrity, feminism and gender, the radicalization of youth, and terrorism. In a time dominated by print, radio, and television media, Hearst’s portrayal showcased the media spectacle as cultural parable for a controversial time.
46
Boyce, Raymond Reginald. "Catching the cow's eye : the spectacle as moral reason". Thesis, Open University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601796.
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I propose an account of moral perception in which we can sometimes visually perceive certain moral features as those moral features, for example kindness as kindness or cruelty as cruelty, apprehending them immediately rather than inferentially. I claim that this has implications for moral motivation, moral argument and moral creativity. I first explore the nature of 'resultant' features: features that result from certain arrangements of other features taken as a whole (a path may be dangerous by being both steep and slippery). I claim that moral features are resultant features, resulting from arrangements of non-moral properties, and are ineliminable elements of certain kinds of explanation and evaluation of behaviour. I propose a set of sufficient conditions for a feature to be visually perceptible as that feature and argue that for some resultant features under certain circumstances those conditions can be met. Visual experience can include perception of 'resultant' features as single features - we see tables as tables. I claim that we can visually perceive moral features that at least partially consist of arrangements of locally visible non-moral features. I argue that moral perception has consequences for moral motivation because competent application of thick moral concepts requires appropriate responses, including motivation.
47
Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras". Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.
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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252
48
Purse, Lisa Victoria. "The body as spectacle in contemporary American action cinema". Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429920.
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Withers, Emma Jane. "Virtual corporeality : narrative and spectacle in Hollywood VR cinema". Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65820/.
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This thesis is an inquiry into the emergence, development and eventual transmutation of the 'virtual reality' (VR) subgenre. I critically intervene in discourse on cinema, digital media, phenomenology and science fiction (SF) to explore how these films refract and enact Hollywood cinema‘s engagement with digital media and imaging technologies. Given that these films are about bodily immersive mediated experiences, I argue, their reflexive displays of special effects technologies are far from anti- or contra-narrative, as certain analyses imply. My emphasis on the imbrication of narrative and spectacle motivates a critical questioning of further, often interrelated and mutually sustaining dichotomies between body and mind, cognition and affect, cinema and digital media, real and virtual, reflection and immersion. Via close textual analysis with a phenomenological leaning, I explore how these films variously disrupt such binaries. As both old and new media produce and address differently mediated publics, they adopt, adapt and assimilate the narrative-aesthetic modalities of other (digital) media, negotiating their impacts upon our phenomenological relations to the world and to cinema. Through reflexive allusions to their increasingly mediated extradiegetic contexts, they function to uphold cinema‘s ability both to present innovative technological spectacle and to represent contemporary experiential realities. I explore how earlier VR films Tron and The Lawnmower Man aesthetically and conceptually 'map' VR, and how Strange Days and The Matrix ambivalently explore the implications of intensified and widespread virtual experience in radically different ways. I characterise Avatar and Source Code as 'Post-VR' cinema, in which formerly upheld dichotomies – particularly between 'real' and 'virtual' – prove untenably anachronistic. I ultimately maintain the value of an approach to popular cinema which apprehends genre, context and convergence, while advocating sustained and detailed close analysis as a means of grasping cinema‘s narrative-aesthetic functions in the digital age.
50
Teo, W. W. H. "One world, one dream : contemporary Chinese art and spectacle". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336875/.
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The central research question of this thesis is to ask: what is the relationship between Chinese contemporary art and spectacle? I argue that the relationship is uncertain and ambivalent, and mobilise the variegated term ‘spectacle’ in order to track the transformational logic at play in recent Chinese artistic production, consumption and reception. I regard the spectacular event of the first Olympic games held in the People’s Republic of China as a trope for the complex processes of national reconstruction, forms of social control and geopolitical influence set in train by China’s rapid economic advance. I look at the mixed messages and ideological contradictions of such a spectacular global event, and examine the role art plays in China’s 21st century cultural reconstruction. I suggest that since Deng Xiaoping’s ‘open door’ economic reforms in 1978, Chinese art has operated within what I define as a spectacular framework, which subtends to how these artists recursively (re)imagine their own histories; reflect or reject the ambivalent legacy of totalitarian aesthetics; and also, confront and/or comply with the commercialisation, institutionalisation and indeed spectacularisation of their work as ‘imagineered’ by fantasies, projections and longstanding anxieties of China. Through an interdisciplinary and broadly deconstructive approach, this thesis explores the multifaceted dimensions of spectacle as a cross-cultural interface that reveals much of the geopolitical imaginary beneath the façade of ‘One World, One Dream.’