Rozprawy doktorskie: „Technologie au cinéma”

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Costantino, Vincenza. "Le cinéma d'après-vidéo". Paris 1, 2006. http://www.theses.fr/2006PA010597.

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L'objectif de la thèse est de vérifier l'incidence de la vidéo et des nouvelles techn,ologies sur l'esthétique cinématographique, c'est-à-dire comme la vidéo et le numérique ont influencé l'esthétique du cinéma dès années 80. La production d'art vidéo et multimédia a modifié profondément la conception générale de l'image audiovisuelle et a contribué à. Créer des « figures d'écriture » qui influencent, du point de vue esthétique, la représentation cinématographique. Les « figures» sont: les brouillements d'émission; la mise en crise du « format-écran» ; la stratification, la colorisation, l'écriture et le mixage de l'image; l'esthétisation des fonctions du dispositif électronique, du magnétoscope et de l'ordinateur. Elles convergent vers le concept de « disjonction des codes» de l'image audiovisuelle. L'échantillon d'œuvres cinématographiques est constitué de film de : Anderson, Coppola, Egoyan, Gondry, Godard, Greenaway, Jonze, Lynch, Marker, Spielberg, Sokurov, von Trier.

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Pourpour, Yannick. "Archéologie cinématographique et évolution des standards technologiques". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30091/document.

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Les technologies de projection et de diffusion des oeuvres cinématographiques ont la réputation d'être des facteurs d'importance négligeable. Or, à l'inverse, elles jouent un rôle fondamental dans leur diffusion et donc leur réception. Par ailleurs, ces technologies, bien que leurs grands principes fondateurs n'aient pas changé depuis près d'un siècle, sont au coeur d'un processus d'évolution perpétuelle. Ce processus permanent aura, lui aussi, un impact sur la manière dont des oeuvres, tournées à l'aide d'équipements aujourd'hui devenus obsolètes, vont se transmettre de génération en génération, par des processus de recopie et de duplication complexes, et dont les conséquences esthétiques et philologiques pour les films restent mal connues. Cette thèse a pour objectif d'étudier, dans une démarche archéologique, les modalités et les processus de cette double évolution à travers les traces que lèguent au présent oeuvres et contextes de diffusion disparus. Ce sont autant de « prophéties », selon le mot de Walter Benjamin, qui feront l'objet de réinterprétations et de réappropriations plus ou moins complexes par les générations suivantes, lesquelles lègueront à leur tour à la postérité des traces de leur propre passage. Cela engendre un complexe processus perpétuel de sédimentation, encore aujourd'hui mal connu, qui constitue le principal objet d'étude de cette thèse
The technologies involved in theatrical projection and the watching of movies have the reputation to be of neglible importance. On the contrary, they have an impact that is at the core of movie reception processes. Even though their basic principles have barely changed in almost a century, those technolgies are involved in a perpetual evolution process. It wil, too, have an impact as to how films shot using equipment now obsolete will require complex duplication and printing operations to ensure they keep being showed. The aesthetical, ethical and philological consequences of these operations are still partly unknown. So, this thesis aims to study, in an archeological way, the said evolution processes and their different consequences, focusing especially on the evidence obsolete and forgotten films or technologies bequeathed to us. In other words, this thesis studies the « prophecies », of the past, as Walter Benjamin put it, prophecies that will be subject to subtle and complex recycling by the next generations. Those will, in turn, hand down the mix they made to posterity, adding evidence of their own existence. That infinite sedimentation mechansim remains scarcely understood This thesis is meant as a contribution on this matter

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Lévy, Francine. "Du cinéma dans la peinture : l'image dissolue". Paris 1, 1998. http://www.theses.fr/1998PA010599.

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Comment les images du cinema prennent forme dans la peinture moderne et contemporaine ? en suivant pas a pas ses traces, et decouvrant ses qualites allotropiques, l'image s'est revelee dissolue, au sens chimique du terme comme en son sens moral. L'image de cinema, ou sa trace qui reapparait dans la peinture, subit de nombreuses dissolutions successives, de nature differente qui sont progressivement enumerees et analysees. Sur le versant poetique, la question personnelle, qui motive cette recherche est, comment, lorsqu'on est peintre et cineaste peut-on peindre du cinema ? quatre chapitres principaux : 1- entre cinema et peinture : ce qui apparente et ce qui dissocie peinture et cinema. Les parametres etudies sont le temps, le cadre, et le mouvement. 2- du cinema dans la peinture : une tentative de designer des images du cinema qui, apres s'etre dissoutes dans le temps, dissolues dans la reproduction, et diluees dans la memoire, ont transite du cinema vers la peinture, et ont reapparu differentes et nouvelles, grace a un "mouvement" particulier qui est la citation. 3- de la peinture au cinema : le recit d'une experience personnelle sur le film de leos carax, "sans titre", presente a cannes en 1997. 4- cinema/peinture : peter greenaway, et le " cuisinier, le voleur, sa femme, son amant" mes propres peintures, notamment celles qui sont nees de ma participation speciale au film "sans titre" de leos carax. Enfin, le concept de dissolution, s'affirme comme contenant fermement les notions de fluidite, de mouvement, de deplacement, de changement de point de vue, l'idee generale du risque constant de la disparition, de la perte, de l'apparition et de la magie. Ce qui le rend specifique, est qu'il est particulierement adapte a l'evolution recente des technologies numeriques de l'image, et rend compte avec un sens etendu, a la fois technique et psychologique, du comportement des images contemporaines, tous supports confondus
My search deals the unexplored animated imagery between film and painting. The issue is : how does the motion picture imagery appear in modern and contemporary painting. By trailing them, and discovering their allotropic features, i have found out that these images were either dissolved, in the chemical sense, or dissolute, in a moralistic sense. The motion picture imagery, or its trail that becomes visible in painting, suffers many different and successive dissolves, which are counted up and analysed. On the poietic way, the personal issue that motivates this thesis, is : how, when you are a painter and a film maker, can you paint movies ? four main chapters: 1- between motion picture and painting : what relates and what separates painting and film-making. The analysed parameters are time, framing, and motion. 2- about motion picture in painting : an attempt to point out some film images that have been dissolved into time, recklessly duplicated, and diluted, into memory. They travelled from motion picture to painting, and became visible again, different and new, due to a peculiar gesture: quoting. 3- about painting in motion picture : a personnal experience, on leos carax's short movie : "untitled", shown in cannes (1997). 4- motion picture/painting : about peter greenaway's "the cook, the thief, his wife and her lover", and my own paintings, specially those born from my special work on leos carax's film : "untiried". Eventually, the "dissolution" concept asserts itself as firmly containing ideas of fluidity, motion, travelling, changing outlooks, and the permanent risk of vanishing, loss, apparition and magic. This concept specially suits the new technologies of images, and conveys, in a wider range of meanings (technical and psychological), the behaviour of contemporary images in any medium

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Amiard, Jean-François. "L’hybridation, de nouvelles formes cinématographiques amenées par les dernières technologies dans l’esthétique des films". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030039/document.

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

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Nicodemos, Monise. "Obsolescence et réinvention du cinéma argentique à l’âge du numérique". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA017.

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Depuis les années 1990, face à l’expansion du numérique, le cinéma argentiqueest confronté aux enjeux économiques, politiques et poétiques de l’obsolescence.Notre étude vise à explorer les ambiguïtés, les ambivalences et les potentialitésde l’obsolescence qui ouvre des nouveaux champs de possibles à la réinventiondu cinéma argentique. Nous nous intéressons notamment à cette période de réinventiondu médium-film à partir de la fabrication de l’émulsion-maison, de la réactivationdu sténopé et de l’exposition de la machinerie du cinéma argentique.Conçu comme une articulation entre esthétique et technique, comprenant une viséehistorique, ce travail propose une systématisation théorique de la pratique du laboratoire,de la camera obscura, du sténopé et de la machine avec l’analyse d’un corpusd’oeuvres actuelles réalisées avec ces outils argentiques. Dans le parcours esquissé,qui s’appuie sur des entretiens avec les artistes, nous tentons d’élucider lestechniques impliquées dans les oeuvres et le processus créatif des artistes. Nousverrons enfin comment, à partir de ces liens entre théories et pratiques, des artistesréinventent aujourd’hui, grâce à l’obsolescence, le cinéma argentique à l’âge dunumérique et entretiennent une mémoire de toute sa technicité et machinerie
Since the 1990s, in the face of digital expansion, analogue cinema has been confrontedwith economic, political, and poetic issues of obsolescence. Our study aimsto explore the ambiguity, ambivalence and potential of obsolescence, which opensup new fields of possibilities for the reinvention of analogue cinema. We are particularlyinterested in this period of reinvention of medium-film from the manufactureof the handmade emulsion technique, the reactivation of the pinhole, and theexhibition of analogue cinema machinery. Viewed through a historical lens andconceived as an articulation between aesthetics and technique, this work proposesa theoretical assessment of laboratory practices, the camera obscura, the pinholeand the machine, and an analysis of a body of current work realized using thesefilm tools. Through interviews with artists, we aim to illuminate their creative processesand reveal the techniques involved in the artworks. Finally, we will showhow thanks to obsolescence, artists today are reinventing analogue cinema in thedigital age and maintaining a memory of all its technicality and machinery

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Carobolante, Jean-Baptiste. "Vers un monde spectral : théorie d'une hantise de l'image à partir du cinéma de spectre (1998-2018)". Electronic Thesis or Diss., Normandie, 2020. http://www.theses.fr/2020NORMC036.

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Cette thèse tente d'atteindre deux objectifs : premièrement, produire une analyse générale du cinéma de spectre contemporain dont nous définissons le point de départ en 1998 avec le film Ringu d'Hideo Nakata. Les films de spectres diffèrent des films de fantômes par le fait que leurs motifs sont à comprendre à partir des doutes technologiques, sociaux et métaphysiques de nos sociétés contemporaines. Par ailleurs, ce concept de spectre, que nous définissons tout au long de la recherche, est intrinsèquement lié à l'histoire de l'art et à la philosophie de l'image. C'est ainsi que nous arrivons au second objectif que tente d'atteindre notre recherche : proposer une théorie de notre rapport contemporain à l'image à partir de ce genre cinématographique. L'intuition théorique de départ est que nous vivons à une époque où l'image a une valeur politique prédominante, au point d'influencer l'agir, et que nous pouvons trouver, en l'image elle-même, une matière pour penser cette influence croissante. Ainsi, le cinéma « spectral », en tant que cinéma où le spectre est défini comme « une forme invisible qui va tout faire pour se rendre visible », nous semble être le cinéma même où se jouent cette puissance de l'image et sa part d'incarnation
This thesis attempts to achieve two objectives: first, to produce a general analysis of contemporary cinema of spectre where we define its genesis with Ringu (Hideo Nakata, 1998). What distinguishes spectral films from ghost films is the fact that their patterns are intimately linked to technological, social and metaphysical doubts of our contemporary societies. The concept of spectre, defined throughout this research, is intrinsically linked to the history of art and the philosophy of the image and perception. This is how we arrive at the second objective: to propose a theory of our contemporary relationship to the image based on this cinematographic genre. The initial theoretical intuition is that we live in times where the image has a predominant political value, to the point of influencing action and that we can find, in the image itself, the material for thinking about this growing influence. Thus, the "spectral" cinema, as a cinema where the spectre is defined as "an invisible form which will do everything to make itself visible", is to us the very cinema where this power of the image and its part of incarnation are played out

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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.

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Barrat, Olivier. "Les médias japonais en ce début du XXI siècle". Paris 2, 2004. http://www.theses.fr/2004PA020032.

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Archat, Tatah Caroline. "Enjeux de l'introduction de l'art à l'école primaire et au collège : processus d'apprentissage et mises en forme scolaire des confrontations aux oeuvres : le cas du cinéma". Paris 8, 2010. http://www.theses.fr/2010PA083209.

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L'introduction du cinéma à l'école primaire et au collège s'inscrit dans une politique éducative qui vise à mettre en présence des élèves issus de milieux populaires, des productions artistiques pour réduire les inégalités face à la culture et aux savoirs. À partir de l'hypothèse selon laquelle la mise en présence d'oeuvres n'est porteuse d'aucune réussite en elle-même, cette recherche apporte des éclairages sur les processus langagiers, cognitifs et subjectifs qui sont en jeu dans le travail d'élaboration d'un regard sur le cinéma. L'analyse de deux corpus de textes montre qu'il est possible que ces élèves deviennent des spectateurs potentiellement amateurs si les confrontations scolaires au cinéma les mettent face aux difficultés d'écrire sur un film, tout en leur proposant les outils et les étayages nécessaires pour le faire. L'expérimentation d'un logiciel de lecture et d'écriture sur des films, réalisée pour les besoins de cette recherche, ouvre une réflexion sur ce que les technologies nouvelles d'annotation des œuvres d'art impliquent comme changement dans les pratiques d'enseignement
The introduction of film into primary and middle schools falls within the framework of an educational policy aimed at bringing students from working class backgrounds face to face with artistic productions, so as to reduce their cultural inequalities, as well as those of knowledge in general. Starting from the hypothesis that being in the presence of works of art does not necessarily lead to educational success, this research sheds light on linguistic, cognitive and subjective processes that are at brought into play when elaborating a point of view on films. The analysis of two corpora demonstrates the possibility that these students could potentially become amateur spectators, given that the educational encounter with film puts the students face to face with the difficulties of writing about a film, while furnishing the necessary tools and aids needed to do so. The experiment, which used a software program for reading and writing about films, and which was carried out expressly for this research, opens up a reflection on what new technologies for annotating works of art involve with regards to changing teaching practices

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Huvet, Chloé. "D’Un nouvel espoir (1977) à La revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20048.

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Fait unique dans l’histoire du cinéma, les partitions du gigantesque cycle dischronique qu’est la saga Star Wars, couvrant une période très étirée de vingt-huit ans, sont toutes de la main de John Williams. Cette constance compositionnelle devrait a priori faire des deux trilogies (1977-1983 et 1999-2005) un tout cohérent et unifié, d’autant que George Lucas envisage les six épisodes comme une seule et même entité. Pourtant, l’unité musicale de l’hexalogie et la signature musicale « starwarsienne » sont loin d’aller de soi, prenant la forme d’un idéal dénué de fondements solides réels.En adoptant une approche comparative transversale et en faisant varier différentes échelles d’analyse (épisode, trilogie, saga), la présente thèse a ainsi pour projet de montrer de quelles manières le matériau musical, les pratiques compositionnelles de Williams, mais aussi le traitement et l’intégration de la partition au sein du complexe audio-visuel font l’objet de profondes transformations entre les deux trilogies. Notre recherche interroge également dans quelle mesure et selon quelles modalités ces changements dans l’écriture musicale et l’utilisation de la partition dans les différents épisodes sont liés aux mutations des techniques cinématographiques, en particulier aux bouleversements dunumérique. Mettant à profit l’exploitation de sources manuscrites inédites et d’entretiens personnels réalisés auprès de l’orchestrateur principal de Williams, Conrad Pope, et de son music editor Kenneth Wannberg, notre travail met en oeuvre une interdisciplinarité affirmée au croisement de l’analyse musicale, de l’histoire du cinéma et des technologies
The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history

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Pourpour, Yannick. "Archéologie Cinématographique et Evolution des Standards Technologiques". Phd thesis, Université Paul Valéry - Montpellier III, 2011. http://tel.archives-ouvertes.fr/tel-00705346.

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Les technologies de projection et de diffusion des oeuvres cinématographiques ont la réputation d'être des facteurs d'importance négligeable. Or, à l'inverse, elles jouent un rôle fondamental dans leur diffusion et donc leur réception. Par ailleurs, ces technologies, bien que leurs grands principes fondateurs n'aient pas changé depuis près d'un siècle, sont au coeur d'un processus d'évolution perpétuelle. Ce processus permanent aura, lui aussi, un impact sur la manière dont des oeuvres, tournées à l'aide d'équipements aujourd'hui devenus obsolètes, vont se transmettre de génération en génération, par des processus de recopie et de duplication complexes, et dont les conséquences esthétiques et philologiques pour les films restent mal connues. Cette thèse a pour objectif d'étudier, dans une démarche archéologique, les modalités et les processus de cette double évolution à travers les traces que lèguent au présent oeuvres et contextes de diffusion disparus. Ce sont autant de " prophéties ", selon le mot de Walter Benjamin, qui feront l'objet de réinterprétations et de réappropriations plus ou moins complexes par les générations suivantes, lesquelles lègueront à leur tour à la postérité des traces de leur propre passage. Cela engendre un complexe processus perpétuel de sédimentation, encore aujourd'hui mal connu, qui constitue le principal objet d'étude de cette thèse.

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Jacobs, Bidhan. "Vers une esthétique du signal. Dynamiques du flou et libérations du code dans les arts filmiques (1990-2010)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030089.

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Au cours de la décennie 1990, l'introduction puis l’expansion accélérée du numérique par les industries techniques ont favorisé le développement dans les arts filmiques d’un courant critique spontané et collectif portant sur le signal. Nous élaborons une histoire des techniques et des formes esthétiques critiques du signal, en faisceaux de segments, selon une taxinomie qui prolonge le structuralisme matériologique des années 70 (Malcolm Le Grice, Peter Gidal, Paul Sharits, Anthony McCall). Cette histoire embrasse et met en perspective cinéma, vidéo et numérique, de manière à réorganiser nos conceptions distinctes de ces champs selon le domaine des sciences (duquel dépendent détection, codification et visualisation du signal). Nous proposons une histoire des techniques à rebours sous l’angle particulier de la computation du signal, processus systématique commun à l’ensemble des technologies filmiques et entendu comme un ensemble de règles opératoires propres à un traitement calculatoire de données. Dans la double tradition d’une part de Jean Epstein, Marcel L’Herbier ou Jean Renoir, et de l’autre du structuralisme expérimental (Paul Sharits, Malcolm Le Grice…), de nombreux artistes contemporains, tels Paolo Gioli, Philippe Grandrieux, Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte ou HC Gilje (pour n’en mentionner que quelques uns), ont élaboré une intelligence du signal grâce à deux entreprises critiques simultanées. La première, au registre du dispositif, conteste la technologie programmante et vise les libérations du code ; la seconde, au registre de l’image, conteste les normes de visualité et enrichit les palettes visuelles et sonores du flou. Nous tentons d’établir, formuler et organiser les logiques qui, traversant et déterminant la diversité des initiatives artistiques dont nous observons les spécificités et singularités, relèvent d’un même combat artistique contre la standardisation
During the 90s, with the introduction, then accelerated expansion of digital by the technical industries, has promoted the development of a spontaneous and collective critical current on the signal in the filmic arts. We develop a history of technics and critical aesthetic forms of signal, in beam segments, according to a taxinomy that extends the 70s’ materiologic structuralism (Malcolm le Grice, Peter Gidal, Paul Sharits, Anthony McCall). This history embrace film, video and digital, to reorganize our different conceptions of these fields according to the scientific viewpoint (which detection, codification and display of the signal depend on). We propose a backward technological history from the viewpoint of the signal computation, a systematic process common to all filmic technologies, and understood as a set of operating rules specific to computational data processing.In the double tradition, first of Jean Epstein, Marcel L'Herbier or Jean Renoir, on the other hand experimental structuralism (Paul Sharits, Malcolm Le Grice...), many contemporary artists such as Paolo Gioli, Philippe Grandrieux Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte or HC Gilje (just to mention a few) has developed a signal intelligence thanks to two simultaneous critical enterprises. The first, on the register of the apparatus, challenges the programming technology and aims the liberation of the code ; the second, on the register of the image, challenges the norms of the visuality and expand the visual and sound palettes of blur. We try to formulate and organize the logics which, crossing and determining the diversity of artistic initiatives whom we observe specificities and singularities, belong to the same artistic battle against standardization

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Stine, Kyle Joseph. "Calculative cinema: technologies of speed, scale, and explication". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1765.

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In recent years, as digital technologies have swept across the motion picture industry, scholars have seen the need to rethink what cinema means today and whether it continues at all. Studies typically resolve this crisis in one of two ways: by proclaiming the "end of cinema" or by showing how new technologies satisfy the continued demands for narrative and photorealism. What has largely escaped consideration is how the history of cinema itself might be rethought, and more specifically how the "digital revolution" might be seen to open up a new perspective on the history and trajectory of cinematic technologies. Calculative Cinema explores how cinema was calculative from the very beginning, with celluloid film being used in areas that had no pretensions toward narrative or photorealistic representation such as scientific imaging, data storage, and early analog computing. The project starts from a belief that any history of cinema appropriate to our present situation must be a history of new proportions, in terms of both timeline and scope. For this reason, it draws broadly from different disciplinary perspectives, including media theory, the history and theory of technology, art history, and developments in scientific imaging and computation. It seeks to relate philosophical investigations, avant- garde art practices, and modern historiography to the development of cinematic technologies, and does this by tracing seemingly outlying cases in the history of physics, cybernetics, and sound reproduction in order to locate the technical tendency common to these fields and its characteristic folding between picturing and measurement, cinema and calculation, cinematics and kinematics. Taking this expanded view of its technological base the dissertation then reflects back on the pervasive sense of cinema as an interface commensurate with human experience, in this way recontextualizing discourses on the death of cinema as symptomatic of a new cultural relation to cinematic technologies.

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Newton, James. "The anarchist cinema". Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54753/.

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There has been only a minimal amount written in academic circles on the connections between political anarchism and cinema. Alan Lovell focuses on allegorical readings of films by Jean Vigo, Luis Bunuel, and Georges Franju. Richard Porton examines the historical representation of anarchists and their ideas. More recently, Nathan Jun lays out ideas for a proposed ‘cinema of liberation’. Yet these three writers, who provide the most notable attempts at wrestling with the subject, barely refer to one another. This means that there are disconnections in the areas of existing scholarly research, and it fails to fully analyse the complex series of relationships that exist between anarchism and film. My thesis attempts to address these gaps, and suggests ways in which anarchist theory can be used as a framework to inform our understanding of cinema as a cultural and industrial institution, and also provide an alternative process of reading and interpreting films. In analysing the dynamics between anarchist theory and film, it focuses on three key areas. Firstly, it considers the notion that cinema is an inherently anarchic space, based around fears of unruly (predominantly working class) audiences. Secondly, it attempts to delineate what the criteria for an anarchist film could be, by looking at a range of formal characteristics and content featured in a number of popular movies. And thirdly, it examines the place of grassroots and DIY filmmaking in the wider context of an anarchist cinema. My thesis finds the continuities that exist between radical film culture of the present and the past, and I propose that there is an innately anarchic undercurrent to several key aspects of cinematic culture. The thesis concludes by stressing the distinction that exists between film as a text, and cinema as a range of cultural activities. I propose that the ultimate embodiment of a study of an anarchist cinema should combine film analysis with that of an examination of cinema as a social and physical space. In turn, this can help us to consider the ways in which film and cinema may form part of a culture of resistance – one which fully articulates the concerns and questions surrounding anarchist political theory.

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Sharp, Jasper. "Japanese widescreen cinema : commerce, technology and aesthetics". Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/5606/.

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Dominguez, Jimenez Roman. "Rythme, geste, montage : esquisse pour une technologico-politique par le cinéma". Paris 8, 2012. http://www.theses.fr/2012PA083456.

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Notre objectif est de proposer des concepts philosophiques qui puissent contribuer à susciter une politique distincte de celle de la souveraineté étatique et des régimes représentatifs. Il nous semble que si la politique se trouve désormais remplacée par une gestion managériale où souvent les institutions souveraines ne jouent que le rôle de figurantes, c’est moins dû à un échec des projets de la modernité ou à une crise de civilisation liée à une supposée phase finale du capitalisme, qu’à cause d’une dérive technologique au cours de laquelle toute politique ne cesse de renvoyer à l’image et au montage. L’image en mouvement reproductible par des moyens techniques industriels, dont le premier a été le cinéma, a changé notre rapport au temps et donc à l’archive. Celle-ci n’est pas la mémoire, mais le dispositif technique de l’arkhè. Par là, l’archive définit autant le sens du temps que le lieu d’inscription du pouvoir, de l’autorité, de la loi. Nos institutions politiques ont été construites à partir des inscriptions archivistiques sur une surface scripturale. Mais notre temps est celui d’une surface où l’inscription se trouve remplacée par la modulation des événements tout au long d’un montage généralisé. Si bien qu’il est possible de définir le XXe siècle comme celui où la politique est devenue la continuation du montage par d’autres moyens. Nous proposerons une double généalogie technologico-politique : celle du statut contemporain de nos démocraties telles qu’elles s’exhibent dans l’image-montage et celle qui pourra éventuellement tracer les voies d’un autre krátos du peuple, tel que nous le trouvons dans le rythme chez Tarr et dans le geste chez Ozu
Our main goal is to propose philosophical concepts that might contribute to arouse a political standpoint that would differ from the one based in State-sovereign representative regimes. We consider that the main cause of the replacement of politics by a managerial-like administration in which very often sovereignty institutions play only the walk-on part, cannot be explained only as the inevitable result of the failure of modernity’s different projects or as the spin-off of a civilization’s crisis within capitalism’s supposed final phase, but rather as the outcome of a technological adrift in which politics is relentlessly linked to image and montage. Cinema is the first in a series of technical-reproduced, industrial-scale moving images that had changed our bond towards time and thus towards archive. This one is not the faculty of memory, but the technical device of the arche. Thus archive defines not only the sense of time but also marks the site in which power, authority and law are signed-in. Our political institutions were built by means of archival inscriptions on a scriptural surface. But our time is the one of a surface where inscription itself has been replaced by a constant modulation of events throughout a widespread montage. So far that it is possible to define XXth century as the one in which politics has become the continuation of montage by other means. Hence, we shall propose a double technologico-political genealogy: that of the contemporary status of our democracies such as the montage-image displays it; and the one who might awake the unlikely ways of a different people’s kratos, such as the one we have found in Bela Tarr’s rhythm and in Ozu’s gestures

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Morales, Hernandez Mauricio. "Médiatisation technologique et voix du réel. : une anthropologie historique du regard — de la trace à l'écran". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0041.

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Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuel
We begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today

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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.

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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.

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Fayad, Gaëlle. "L'économie du cinéma libanais : ce rêve d'industrialisation". Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30028.

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Cette thèse a pour ambition d’étudier les structures de financement et de distribution du cinéma libanais en identifiant les difficultés de base du secteur, afin de proposer des stratégies de développement durable. L’aide publique du ministère de la Culture, le soutien de la Fondation Liban Cinéma, la coopération entre la Banque Centrale et les banques commerciales, les relations entre le secteur du cinéma et les chaînes de télévision, le recours aux investisseurs privés et l’importance de la coproduction étrangère y ont été évoqués. De même que, l’impact de la distribution et de l’exploitation des films libanais, notamment la politique de l’implantation géographique des salles de cinéma (multiplexe et art et essai), la mission de la plateforme VOD libanaise, la multitude de festivals de films et la rare diffusion cinématographique télévisuelle, y ont été étudiés. Une méthodologie suivant les principes de la recherche qualitative et quantitative a été effectuée, afin d’analyser le terrain et proposer des solutions concrètes visant à renforcer l’économie du cinéma libanais
This thesis aims to study the structure of film financing and distribution of Lebanese cinema, by identifying the main challenges of the sector, in order to propose strategies for sustainable development. Public aid from the ministry of Culture, support from the Lebanese Cinema Foundation, essentiality of foreign co-productions, cooperation between the Central Bank and commercial banks, reliability on private investors and liaisons between the cinema sector and television channels, have been analyzed in depth in this thesis. In addition, the impact of distribution and exhibition of Lebanese films, particularly the localization policy for multiplex and arthouse cinemas, the numerous film festivals, the rare cinematographic television broadcasting, and the impact of the Lebanese VOD platform have been explored. A qualitative and quantitative research methodology was carried out in order to study the market and propose concrete solutions aimed at strengthening the economy of Lebanese cinema

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Kitsopanidou, Kira. "L'innovation technologique dans l'industrie cinématographique hollywoodienne : le cinéma-spectacle des années 50, une mise en perspective des stratégies liées à l'eidophor et au cinémascope". Paris 3, 2002. http://www.theses.fr/2002PA030067.

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De l'obsession des origines à la recherche des " premières fois ", l'histoire de la technologie cinématographique n'échappe pas au quantitatif et à l'approche généalogique. Quand ce ne sont pas les historiens qui se laissent emporter par l'ambition de fonder une science consacrée à la " génétique " des technologies cinématographiques, ce sont les théoriciens du cinéma qui prennent la relève en soumettant la technologie à la quête d'une essence, spécificité ou fonction transcendante et trans-historique, par exemple le mythe du " cinéma total ". L'objectif de cette thèse est de montrer que l'histoire de l'innovation technologique au cinéma, et plus particulièrement dans le système hollywoodien, supporte plusieurs entrées d'analyse et d'approfondissement. Se basant, d'une part sur les théories de l'innovation, les sciences de gestion et les théories de la communication, d'autre part sur les analyses des théoriciens du cinéma traitant de l'évolution de l'appareillage cinématographique,. .
From the obsession of the origins to the search for " first times ", the history of cinema technology does not avoid quantification and the genealogical approach. When they are not historians who get carried away by the ambition of founding a science dedicated to the " genetics " of cinema technologies, then they are cinema theoreticians who take over by submitting technology to the quest for an essence, specificity or transcendent and trans-historical function (e. G. The myth of " total cinema "). The purpose of this thesis is to show that the history of technological innovation in cinema, and particularly in the Hollywoodian system, allows various entries for analysis and deepening. Based upon the theories of innovation, management sciences and communication theories on one hand, and cinema theoreticians' analysis devoted to the evolution of cinema equipment on the other,. .

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Finnegan, John. "At the crossing : changing perceptions, technologies and screenplay functions in contemporary cinema". Thesis, Bangor University, 2018. https://research.bangor.ac.uk/portal/en/theses/at-the-crossing(a2e09d31-175a-4e45-93c7-25846e3accc6).html.

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The aim of this research is to explore the unseen contributions of screenwriters in a film’s production cycle and to understand how perceptions of the implied reader in screenwriting culture can affect the act of writing for the screen. In the mainstream culture of screenwriting, the practitioner is often depicted as a typist relegated to the earliest stages of a production, and expected to satisfy the “capitalistic models of screen production” (Batty 2016, 60). These views often disregard the multitude of other production models in cinema, and the result of this tendency is that emerging screenwriters are sometimes misinformed about the greater complexities of the craft. This inquiry is achieved using a reciprocal model of practice-led and conventional critical research methodologies, which will illuminate the craft of screenwriting by charting the making of a feature-length academic screenplay, At the Crossing. Supporting development documentation accompanies the screenplay, including a production schedule and budget, which attempts to contextualise the screenplay in an industrial setting. The act of writing a screenplay in an academic environment enables me to establish the ways that the screenwriter is influenced by the production process, as well as by practitioners in the field of film production. As part of my research, four award-winning screenwriters, ranging from different areas of the filmmaking spectrum, were interviewed to learn about their role in the creation and production of four films. These case studies highlight the extent of the screenwriter’s reach across different production models and show that the screenwriter plays a significant role in all aspects of film production, not just its early conception. Furthermore, a historical analysis of the craft of screenwriting reveals how the earliest scenarios link with the different production models of cinema at the time and shows that Kickstarter, as well as other digital crowdfunding platforms, might have a major role on contemporary ‘digital’ modes of screenwriting. The conclusions of my research show that, in an independent and contemporary production, the role of the writer, as well as the function of the screenplay text, is fluid and not tied to traditional definitions. It determines that a greater understanding of the implied reader of screenplays can benefit the writer in their attempts to craft a compelling and production friendly screen idea and that the advent of digital technologies provides the screenwriter with innovative and efficient strategies to communicate that idea. An edited section of chapter three, has been published in the Journal of Screenwriting, 7:3 in 2016 and an edited version of chapter one has been published in New Cinemas, 15:2 in 2018.

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Stevanin, Junior Vebis [UNESP]. "Artemídia resistente: processos e procedimentos artísticos aplicados no cinema : o trailer de cinema underground paulistano". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/111031.

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Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-12-16Bitstream added on 2014-12-02T11:21:19Z : No. of bitstreams: 1 000797288.pdf: 6000849 bytes, checksum: 66bec66a5e47b130ecdfe2b93654d077 (MD5)
Objetivo: Uma pesquisa acerca das características, forma e estética do cinema underground paulistano da década de 1960, na qual utilizou-se de um trailer falso construído a partir das observações de alguns filmes de cineastas chave deste movimento do cinema como um trabalho equivalente que complemente a pesquisa. Metodologia: Trata-se de uma análise qualitativa onde foram coletados dados de como se construir um trailer e a sua história desde sua criação e exibição e com isso, produzido através de um trabalho equivalente um trailer falso que imitasse boa parte dos filmes feitos pelo movimento “Boca-do-lixo”. Resultados: Feitas as pesquisas sobre filmes e sobre a vida dos diretores, observase algumas persistências de assuntos em comum, suas repetições de encenação e o mesmo senso de dúvida para onde o país seguiria em pré-ditadura, fazendo com que os personagens dos filmes se tornassem errantes, figuras perdidas e sem direção em seu posicionamento político. Conclusão: O “desbunde”, o deboche típico do Cinema Udi-Grudi, se tornou um dos caminhos palpáveis para os atos dos personagens no cinema. O trabalho equivalente tenta se aproximar desta mesma atmosfera.
Purpose: Research the characteristics, form and aesthetics of São Paulo’s underground films of the 60’s, in which a fake trailer was made using what was observed from key filmmakers of this film movement as a corresponding work that completes the research. Methodology: Qualitative analyses in which information was obtained on how to create a trailer and its history from its inception until exhibition, and through that, done an equivalent fake trailer that would copy the majority of the “boca-do-lixo” films. Results: Done the research on films and the life of directors, it can be noticed some common ideas through its repetition and the same sense of doubt as to where the country would go in this period of pre-dictatorship, making the characters in the films nomads, lost and no political ideals. Conclusion: Excess became a way which the characters could follow on the films. The matching work tries to follow this atmosphere.

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Stevanin, Junior Vebis. "Artemídia resistente : processos e procedimentos artísticos aplicados no cinema : o trailer de cinema underground paulistano /". São Paulo, 2011. http://hdl.handle.net/11449/111031.

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Orientador: Pelópidas Cypriano de Oliveira
Resumo: Objetivo: Uma pesquisa acerca das características, forma e estética do cinema underground paulistano da década de 1960, na qual utilizou-se de um trailer falso construído a partir das observações de alguns filmes de cineastas chave deste movimento do cinema como um trabalho equivalente que complemente a pesquisa. Metodologia: Trata-se de uma análise qualitativa onde foram coletados dados de como se construir um trailer e a sua história desde sua criação e exibição e com isso, produzido através de um trabalho equivalente um trailer falso que imitasse boa parte dos filmes feitos pelo movimento "Boca-do-lixo". Resultados: Feitas as pesquisas sobre filmes e sobre a vida dos diretores, observase algumas persistências de assuntos em comum, suas repetições de encenação e o mesmo senso de dúvida para onde o país seguiria em pré-ditadura, fazendo com que os personagens dos filmes se tornassem errantes, figuras perdidas e sem direção em seu posicionamento político. Conclusão: O "desbunde", o deboche típico do Cinema Udi-Grudi, se tornou um dos caminhos palpáveis para os atos dos personagens no cinema. O trabalho equivalente tenta se aproximar desta mesma atmosfera.
Abstract: Purpose: Research the characteristics, form and aesthetics of São Paulo's underground films of the 60's, in which a fake trailer was made using what was observed from key filmmakers of this film movement as a corresponding work that completes the research. Methodology: Qualitative analyses in which information was obtained on how to create a trailer and its history from its inception until exhibition, and through that, done an equivalent fake trailer that would copy the majority of the "boca-do-lixo" films. Results: Done the research on films and the life of directors, it can be noticed some common ideas through its repetition and the same sense of doubt as to where the country would go in this period of pre-dictatorship, making the characters in the films nomads, lost and no political ideals. Conclusion: Excess became a way which the characters could follow on the films. The matching work tries to follow this atmosphere.
Mestre

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Van, Dyk Stephanie. "Re-interpretation of the cinema". Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05182005-112443.

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Augier, Agnès. "Hollywood et les nouvelles technologies : 1982-1992 : l'hégémonie croissante des grands studios sur les marchés du long-métrage de fiction aux Etats-Unis et en France". Paris 2, 1994. http://www.theses.fr/1994PA020071.

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Cette these a pour but d'evaluer les consequences de la generalisation des nouvelles technologies de communication (cable, videogrammes, satellites) sur la position respective des studios hollywoodiens et de leurs concurrents producteurs et distributeurs de films de cinema aux etats-unis et en france entre 1982 et 1992. Pour mettre en lumiere le parti qu'ont pu tirer les studios hollywoodiens de la diffusion des nouvelles technologies, chacune des trois parties traite de leurs rapports avec leurs concurrents potentiels sur un marche donne. Ainsi, apres un rappel chronologique du developpement de chacune des nouvelles technologies, la premiere partie compare les positions et les strategies des producteurs-distributeurs independant a celles des studios sur les marches americains du film. Dans un deuxieme temps, l'impact de ces technologies sur la concurrence etrangere, en particulier francaise, aux etats-unis, est etudiee. Enfin, la troisieme partie retrace l'evolution de l'industrie cinematographique francaise face aux assauts conjugues des studios americains et des medias electroniques. La position de la france a l'interieur de la communaute europeenne met en relief la menace que represente l'hegemonie hollywoodienne pour la survie de productions cinematographiques concurrentes ; elle est l'occasion de discuter des
The aim of this thesis is the evaluation of the consequences of the generalization of the new technologies of communication (cable, video, satellites) on the respective position of the major studios and their competitors producing and distributing films films in the united states and in france between 1982 and 1992. To clarify how the studios have been able to take advantage of the development of the new technologies, each one of the three parts is concerned with the relationships between these studios and their potential competitors on a given market. Thus, after a chronological reminder of how each of these technologies developped, the first part compares the positions and strategies of the independent producers and distributors to that of the majors on the american film markets. In the following part, the impact of the new technologies on foreign, and specifically, french competition, is studied. Finally, the third part retraces the evolution of the french cinematographic industry while facing the combined assaults of american studios and of electronic medias. Within the european community, the french position

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Dupont, Nathalie. "De La guerre des étoiles à La menace fantôme : l'évolution structurelle, conceptuelle et technologique du cinéma américain de 1977 jusqu'à nos jours". Paris 8, 2001. http://www.theses.fr/2001PA081895.

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@Avec la sortie de Star Wars en 1977, les studios hollywoodiens entrèrent dans une nouvelle période de leur histoire qui dure encore aujourd'hui; en effet, après 1977, les mécanismes de production et de sortie des films américains furent modifiés et virent le développement d'étapes devenues très importantes comme le merchandising, l'insertion dans un plan de produits industriels (aussi appelée placement de produits) ou encore la conception des effets spéciaux. Durant cette période, l'acquisition de presque toutes les Majors hollywoodiennes par des compagnies dont l'activité principale n'était pas toujours la production de longs-métrages conduisit à une course au profit qui se traduisit, et continue à se traduire, par une augmentation des coûts de production et de marketing, et par une recherche optimisée du succès à tous les niveaux de conception, de tournage et d'exploitation des films américains aux Etats-Unis et à l'étranger. . .

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Cisneros, James R. "Technologies of reception, on the adaptation of Latin American literature to the cinema". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56465.pdf.

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Benagr, S. "Cinema and new technologies : the development of digital video filmmaking in West Africa". Thesis, University of Bedfordshire, 2012. http://hdl.handle.net/10547/233600.

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This research investigates the development of digital video filmmaking in West Africa using Ghana and Burkina Faso as case studies within the context of new technologies. The key research questions that guided the study were how do the economic, social and political contexts of video filmmaking affect the development of a digital video film industry in Ghana and Burkina Faso? and how have the perceptions of digital technologies (held by filmmakers and other stakeholders) impacted upon the development of digital video film making in West Africa? Using field interviews with stakeholders in the video film industry in Ghana and Burkina Faso, as well as with the West African diaspora community in the UK, document research, textual references, and personal observation, the research discusses the challenges of new digital and video technologies, and their implications for the development of the video film industry. The research establishes that video and digital technologies are offering many people the opportunity to make films. There is however, a plethora of new digital technologies that enable the work of video film producers, which require closer examination. The research suggests that the impact of the digital revolution has been limited, and a number of factors account for this. The study offers recommendations that might contribute to discussions on finding solutions to the development of a professional, regulatory and practical video filmmaking environment. This would lead to the formulation of policies that impact positively on filmmaking in the region, and consequently increase the capacity of local productions to compete on the international film scene.

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Chitrapu, Sunitha. "Linguistic diversity and changing technology in India's regional film markets". [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344567.

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Thesis (Ph.D.)--Indiana University, Dept. of Telecommunications, 2009.
Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0397. Adviser: David Waterman.

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Bridges, Elizabeth G. "Die mensch-maschine technologies of replication and reproduction in German-language literature and culture /". [Bloomington, Ind.] : Indiana University, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3198895.

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Thesis (Ph.D.)--Indiana University, 2005.
Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4396. Chair: Claudia Breger. Title from dissertation home page (viewed Oct. 11, 2006).

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André, Thiago Afonso de. "Cinema digital: a recepção nas salas". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-27092017-112443/.

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Já está completamente consolidada nas cadeias de produção cinematográfica uma esperada \"transição para o digital\". Porém a exibição propriamente dita de filmes na forma digital nas salas de cinema só foi padronizada em 2005, e a mudança ganhou força somente na década de 2010. Essa digitalização da exibição cinematográfica foi incorporada de forma transparente para a maioria dos espectadores de cinema, apesar de suas intricadas especificações técnicas e arranjos econômicos de viabilização das trocas dos equipamentos. Ao mesmo tempo, as tecnologias digitais também proporcionam cada vez mais facilidade para que filmes possam ser assistidos fora das salas de cinema, colocando-as de fato em cheque quando olha-se para o futuro. Este trabalho discute o processo de digitalização da exibição e distribuição cinematográficas, traçando algumas perspectivas sobre por que, mesmo com a digitalização, permanecerão existindo as salas de cinema. É particularmente interessante que, em meio a essa desmaterialização do suporte da cópia, sobressaia exatamente a materialidade que sobrou, a do próprio espaço e disposição da exibição, o espectador na sala de cinema. Essa permanência é apoiada em dois eixos principais. Inicialmente, o fundamental papel econômico das salas nas receitas que movimentam todas as diferentes camadas da produção de filmes. O segundo eixo é do caráter bastante único da imersão presente na sala de cinema. Esta imersão especial, por sua vez, está fundamentada nas características físicas e técnicas dos equipamentos nas salas, que evoluíram para aproveitar diferentes aspectos da percepção humana em seu âmbito individual e coletivo. Combino características tecnológicas dos padrões adotados, elementos da economia do cinema, estudos da percepção e intenções do espectador e resultados recentes da psicologia experimental que corroboram o caráter bastante particular da experiência de assistir a um filme na sala de cinema e indicam sua continuidade.
The long foretold \"transition to digital cinema\" is already running full steam as far as the acquisition and post-production chains are concerned. However, for digital film exhibition, there has only recently, in 2005, been an agreed upon standard, decided by the major distributors, and the actual upgrades only gained momentum in the early 2010s The digitization and change of materiality of cinema exhibition and distribution, although of great interest to professionals, academics and critics, has been incorporated in a more or less transparent way for the majority of moviegoers, despite their intricate technical specifications and economic arrangements between the various economic parties that enabled equipment to be purchased. It is particularly interesting that, in the midst of this dematerialization of the film\'s physical form, what stands out is precisely the remaining tangibles, the very space and disposition for the exhibition, and the spectator in the theater. This work examines the digitalization of cinema exhibition and distribution technologies, tracing some future perspectives on what remains in a digital cinema. I combine technical specifications of the standards imposed by distributors, some elements of the economy of cinema, without which any speculation becomes exclusively theoretical; and some data from audience and spectator studies focusing on their perception, wishes and intentions, the puzzlingly often-forgotten part of the film studies, for there is no cinema without a spectator. In order to do so I present some recent results of experimental psychology that endorse the rather unique aspects of watching a movie in the movie theater, and its importance beyond the historical.

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Unkovski, Georgi. "THE IMMERSIVE WORLD OF VIDEO GAMES AND THE GAMING CONCEPTS IN THE FUTURE OF CINEMA". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251444.

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Tato práce se zabývá konceptem imerze ve videohrách a analyzuje možné implikace, které mohou videohry mít pro kinematografii. Imerze je zkoumána jakožto kvantifikovatelná zkušenost prostřednictvím hry ?Heavy Rain? (2010 PS3 titul). Tato práce taky prozkoumává negativní aspekty imerze a současné argumenty pro a proti prosazování prostorových a kinestetických imerzních technologií. Nakonec se práce věnuje vývoji těchto dvou médií a pokouší se predikovat budoucí podobu vyprávění příběhu.

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Naveh, Jonathan. "Narratives on the Watch: Bodies, Images, & Technologies of Control in Contemporary Surveillance Cinema". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1407952133.

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Deniozou, Iris. "La restauration des films : élaboration et application de l'éthique dans le contexte technologique actuel : l'exemple de Lola Montès de Max Ophuls (1955)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010695.

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Cette thèse propose une déontologie de la restauration des films s’appuyant sur la théorie de la restauration des œuvres d’arts plastiques et sur les recherches des nombreux archivistes du cinéma qui, depuis trente ans, tentent de formuler des principes éthiques pouvant s’appliquer à leur métier. La théorie développée prend en compte l’ensemble de l’histoire technique du cinéma et, de cette manière, de la situation actuelle, où l’art cinématographique passe de l’ère analogique à l’ère numérique. Ce travail a notamment comme but de constater dans quelle mesure et de quelle manière une théorie éthique de la restauration des films est applicable dans le contexte technologique actuel. Les enjeux éthiques qu’engendre ce changement radical du paysage cinématographique et patrimonial sont analysés, la restauration du film Lola Montès (Max Ophuls, 1955) étant choisie comme étude de cas dans le même but. Afin de porter une analyse critique sur ce projet, présenté par la Cinémathèque française en 2008, l’histoire du film – depuis sa création jusqu’à sa dernière diffusion – est longuement étudiée. De nouveaux éléments concernant son parcours particulièrement agité sont d’ailleurs révélés, grâce à la consultation de documents encore inédits. L’urgence de la création d’une charte éthique de la restauration des films, détaillée, rigoureuse et actuelle, sous l’égide des instances patrimoniales internationales, le besoin d’une formation continue à la fois technique et déontologique pour le personnel des archives, et l’importance du développement de la recherche sur les technologies cinématographiques anciennes, constituent les idées fondamentales que ce travail entend mettre en valeur
This thesis proposes a deontological ethics of film restoration based on the theory of restoration of works of art and the research of numerous cinema archivists for over thirty years attempting to formulate the ethical principles that can be applied to their profession. The developed theory takes into account all of the technical history of cinema and, as such, the present condition where the cinematographic art passes from the photochemical and analogue era to the digital era. The main purpose of this work is to ascertain the extent and the way in which an ethical theory of film restoration is applicable in the current technological context. Ethical issues generated by this radical change in the film and heritage landscape are analysed; the restoration of the film Lola Montes (Max Ophuls, 1955) is chosen as a case study for this purpose. In order to construct a critical analysis of aforementioned digital project, presented by the French Cinemathèque (Cinémathèque française) in 2008, the history of this film - from its creation until its last broadcast - is extensively studied. New information concerning its particularly agitated course of life is also revealed, through consultation of yet unpublished documents. The urgency for creating a code of ethics for the detailed, accurate and contemporary restoration of films, under the aegis of international heritage bodies, the need for both technical and deontological ongoing training of the archive staff, and the importance of the development of research in older film technologies constitute the basic ideas around which this work evolves

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Pustay, Steven J. "Cell phones and cinema filmic representations of mobile phone technology and new agency /". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180537475.

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Pustay, Steven James. "CELL PHONES AND CINEMA: FILMIC REPRESENTATIONS OF MOBILE PHONE TECHNOLOGY AND NEW AGENCY". Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1180537475.

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Santos, Bernardo Queiroz de Siqueira. "Cinema reloaded: um estudo da complexidade nos processos comunicacionais do cinema no início do século XXI". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20704.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
What are the traits that predominate in cinema on the present context of digital communication technologies? This PHD thesis proposed a study of what we define as reloaded Cinema, a denomination that refers to the transformation phenomena that affected movies in the beginning of the 21st century, based on the complexities that emerge from the highly integrated communicational processes of the media. That phenomenon is based on the interactions between the networked media environment, the potentials unlocked by the digitalization processes and the relationships with users. The Corpus of this study is composed by audio-visual projects that question and expand the limits of what is cinema, in the sense that was conceived previously. This reload of Cinema is a complex network, composed by the articulations of material, cognitive, linguistic, cultural and multimedia elements. Our method is composed by three stages 1) defining what this reloaded phenomenon is by the selection of those audio-visual projects that undermine the limits of established Cinema; 2) evaluate those projects through proceedings of localization, description and analysis; 3) Organize a synthesis of their properties and propose evaluative schema for cinematic works. Adopting the Complexity Thought proposed by Morin, we affirm that the Reloaded Cinema does not exist as an hegemonic, monolithic and isolated element, but as a communicational phenomenon inserted in culture, that emerges from between users, devices and software mediations. Under this perspective, we avoid determinisms and recognize the intrinsic paradoxes of Cinema in the digital age. Our hypothesis is that the reconfigurations (or reload) of cinema can be found on a) interactions between connected technologies of vision and it´s users through various mobile-imagedevices, like Virtual and Augmented Reality systems; b) on the emerging possibilities of creational processes generated by cinema´s connections and compatibility with Online Networks and Digitized databases, such as collaborative films and AI-oriented screenwriting; c) in mutations on construction of filmic time and space, influencing cinematographic language; d) contaminations of Cinema with other Network-Connected media, and it´s consequences on contemporary culture, where the limits between cinema and other media becomes blurry and overlapped. The results of this research are a map of the present reloaded stage of Cinema, both in the sense of audio-visual experimentation as an overview of its emerging potentials of creative processes, modes of experience and integrations with communication environments of contemporary culture
Quais as características que predominam no cinema no contexto das tecnologias digitais de comunicação? Esta tese de doutorado tem por objetivo estudar o Cinema Reloaded, denominação que propomos para nos referir ao fenômeno de transformação do cinema no início do século XXI, partindo do pressuposto das complexidades que emergem nos processos comunicacionais. Consideramos, para isso, o ambiente midiático das redes, os potenciais que emergem dos procedimentos de digitalização e as relações com os usuários. O corpus de análise é composto por projetos audiovisuais que problematizam e expandem as fronteiras do cinema, no sentido em que foi concebido até então. Compreendemos o Cinema Reloaded enquanto rede complexa, composta pela articulação de elementos materiais, cognitivos, linguísticos, culturais e multimidiáticos. Nossa proposta metodológica é composta por três etapas: (1) enunciar o conceito de Cinema Reloaded a partir da escolha e definição de projetos audiovisuais exemplares; (2) examinar os projetos selecionados através de procedimentos de localização, descrição e análise; (3) organizar e propor uma síntese das qualidades inventariadas no processo e formular esquemas avaliativos para obras. Adotando como fundamentação teórica o pensamento da complexidade segundo a leitura de Morin, afirmamos que o Cinema Reloaded não existe como um elemento monolítico ou isolado, mas como um fenômeno comunicacional inserido na cultura, que emerge entre usuários, aparatos e mediações do software. Também de acordo com essa perspectiva, evitamos determinismos e reconhecemos os paradoxos. Nossa hipótese é que as reconfigurações (reload), do cinema podem ser constatadas a) nas interações entre as tecnologias conectadas da visão com os usuários, através de aparatos de fruição de imagens em movimento, a exemplo dos sistemas de realidade virtual e aumentada; b) nas possibilidades emergentes de processos criativos gerados pela interconexão do cinema com as redes digitais online e as lógicas dos bancos de dados, como os filmes colaborativos e roteiros organizados por inteligências artificiais; c) nas mudanças na construção dos espaços e do tempo fílmico na era digital, as suas influências na linguagem cinematográfica e; d) as contaminações do cinema com outras mídias conectadas na era digital e suas interações na cultura contemporânea, onde as fronteiras ficam borradas e sobrepostas. O resultado da pesquisa é um mapeamento das características do cinema em seu estágio Reloaded, tanto no sentido das experimentações audiovisuais como na delimitação de suas potencialidades emergentes de criação, modos de experiência e integração com os ambientes comunicativos da cultura contemporânea

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Wittingslow, Ryan Mitchell. "Machines for living: philosophy of technology and the photographic image". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11854.

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This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology.

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Kelber-Kaye, Jodi. "Straighten up and breed White: The representation of race and sexuality in films about reproductive technologies". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289943.

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This dissertation is concerned with the monstrous, specifically as it enters our understanding of reproductive technologies, and is represented through a series of films, beginning in the 1930s. In looking at filmic representations of reproductive technologies, this study indicates how the use of, and the results from, those technologies are characterized as monstrous. Because technological reproduction is demarcated as monstrous, non-technological reproduction is naturalized. Importantly, this naturalized reproduction in the films is not only non-technological, but specifically derived from heterosex and racially consistent. In this examination, I argue that the kinds of cultural stories we tell about family-making resemble those we tell about gays and lesbians and non-whites: that in the twentieth- and twenty-first-century US, our culture operates under a double discourse in which those we pity become those whose lives we restrict. In the realm of reproduction, these seemingly contradictory positions enable attempts to limit or eradicate the reproduction of certain people, the egregiousness of which is ameliorated by expressions of sympathy for the life circumstances of those same people. The insights of this project are built on the naturalization of white, heterosexual reproduction in popular film, as well as the historical construction of desired reproduction through eugenics. Some feminist scholarship about reproductive technologies has directly linked those technologies to eugenic attempts to control reproduction, but do so by naturalizing motherhood and reproduction. The "unnaturalness" of reproductive technologies, in the form of masculine medical institutions, these writers claim, looks exactly like the masculine control of human reproduction during the eugenics movements. I seek to extend and complicate this scholarship by pointing out how such a reductive version not only negates the social welfare movements aspects of eugenics but also makes heterosexual reproduction via sexual activity the norm, thereby de-valuing gay and lesbian family-making. On the other side of the reproductive technologies issue, other feminist scholars herald these technologies as capable of eradicating inequitable social relations. Conversely, I argue, these technologies continue to exacerbate the system of differences through their re-inscription of the varying degrees of "quality" assigned to the reproduction of women of color.

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Leal, Frederico Fonseca [UNESP]. "Cine'stesia: uma visão crítica no fazer e pensar cinema". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/86961.

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Universidade Estadual Paulista (UNESP)
O presente trabalho equivalente e relatório circunstanciado trata da crítica cinematográfica do ponto de vista da proximidade do crítico em relação ao objeto de análise, levando em conta como principal fundamento da peça cinematográfica a forma como o espectador é tocado.Como recurso é usada uma bibliografia específica sobre cinema e uma filmografia que juntas funcionam como base para a pesquisa. Foram utilizados, ainda, quatro curtas-metragens dirigidos pelo próprio autor entre 2008 e 2010. Um média-metragem documentário foi produzido como trabalho equivalente, onde os conceitos abordados por esta dissertação são exemplificados e discutidos através da pesquisa, sempre tendo como objetivo primário a interação entre espectador e obra
The present equivalent work and detailed report treats the cinematographic critic under the point of view of the proximity of the critic in respect to the object of analysis, taking as main basis of the cinematographic play the way that the viewer is reached. As resource it’s used a specific bibliography about cinema and a filmography which together work as basis to the research. It were also utilized, four short-cut movies directed by the author himself between 2008 and 2010. A medium-cut documentary was produced as equivalent work, where the studied concepts by this dissertation are exemplified e discussed through the research, always having as primary objective the interaction between viewer and work

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Schupp, Janina. "Audiovisual battlefields : the remediation of cinema and media imagery and technologies in military urban conflict simulations". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275654.

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Since the end of the Cold War, the combined influence of audiovisual media, modern urban conflicts and asymmetric enemies has generated a new kind of military live training simulation to prepare soldiers for future combats. These novel hybrid exercise battlefields are situated in artificially constructed urban spaces and integrate real physical training with techniques and imagery inspired by the fields of cinema and media. This thesis critically examines this convergence of entertainment practices and images in military training and the resulting, potentially negative, impacts on the execution of warfare and perception of urban spaces and populations. The thesis begins by tracing the evolution of terrain representations in wargames – from black and white squares, painted landscape elements and actual maps, to virtual environments, miniature houses and real-scale architectures. The historical relationship between the film industry and military training is analysed in order to explore the emergence of cinematic components in simulated combat training landscapes that brought the flat world of wargames to its real third dimension. The mock urban training space is then investigated as a “meta-cinematic city” – a city created through cinematic tools, including set and sound design, which portrays a cinematic city (a city as represented through a filmic medium). This analysis focuses on how cinematic elements, such as creative geographies and architectural sequences, are created in order to train for the subversion of traditional conceptions of urban spaces and architectural elements in urban combats. Furthermore, the examination reveals how the sensory qualities of moving image technologies are employed to generate a multi-sensory “hyperrealism” and “hyperimmersion” to train physical and emotional reactions and engrain military responses to combat stimuli. The analysis furthermore excavates both the conscious and unconscious remediation of media imagery and practices in the creation of the artificial “human terrain”. The mise-en-scène of the enemy population is investigated in order to uncover how the simulation of “foreign” and “alien” identities is increasingly based on the media coverage of these population groups. The analysis critically considers how the resulting role-play reproduces self-perpetuating stereotypes that pre-shape the soldiers’ perception of populations. Lastly, the thesis explores how artificial media cycles are generated as part of the combat training to prepare soldiers’ self-representation and communication skills under unpredictable, straining circumstances and to effectively communicate the army’s message to the world. This section especially focuses on the growing military “weaponisation” of the media, which has now begun to market the military training itself as an entertainment attraction to worldwide audiences – thus closing the circle between entertainment and military practices and subsuming the population in the war preparation. With entertainment and marketing imagery, technologies and concepts now at the core of military preparation, stereotypes of population groups and urban spaces and a “de-realization”, “gamification” and “sanitisation” of warfare are increasingly carried over into real conflicts, thus affecting critical decisions as a result of entertainment-based conditioning. Furthermore, to ensure public support, the general population is turned into an indispensable part of military training through participatory video games, social media and training centre visits and consequently becomes increasingly complicit in the merging of entertainment and military practices and subject to the same remediated preconceptions.

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Nóbrega, Mainara Rodrigues. "Merci: um sistema interativo para cinema digital". Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6112.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The cinema has evolved continuously since its inception. Started to have sound and colours; visual, special, three-dimensional and multisensory effects, and now, interactivity. These changes have provided to the public increasingly realistic experiences while viewing a movie. These experiences can be obtained through technologies deployed in audiovisual and sometimes in his own screening room to capture the movement or the voice of the audience, with the purpose of providing a direct interaction of the viewer with the film displayed. New versions of technological tools are constantly emerging to assist the cinematography. However, the prior techniques do not cease to exist, all has been embedded, aggregating in a process of evolution and technical repositioning, making it possible to use the interactivity. Here we developed a system called MERCI, which provides the interaction between viewers and the audiovisual by sending text messages via mobile. The MERCI also provides technical support to the nonlinear film-editing of the audiovisual narrative and the user management. The director or the editor of the work will be responsible for handling these issues. Some work already developed were compared to MERCI, however here is to offer a model of interactivity which uses a new way to plan and develop the narrative.
O cinema tem evoluído continuamente desde a sua criação. Passou a ter som, cores, efeitos visuais, especiais, tridimensionais, multissensoriais, e agora interatividade. Tais mudanças têm proporcionado ao público experiências cada vez mais realistas durante a exibição de um filme. Estas podem ser obtidas através de tecnologias implantadas no audiovisual e, algumas vezes, na própria sala de projeção para captação de movimento da plateia ou da voz de espectadores, com a finalidade de proporcionar uma interação direta do espectador com o filme exibido. Novas versões de ferramentas tecnológicas surgem constantemente para auxiliar a cinematografia, no entanto, as técnicas que as antecederam não deixam de existir, todas têm se encaixado, agregando-se em um processo de evolução e reposicionamento técnico tornando possível o uso da interatividade. Apresentamos aqui um sistema intitulado MERCI, que proporciona a interação entre espectadores e o audiovisual através do envio de mensagens de texto realizado por meio de dispositivo móvel. O MERCI também fornece o suporte técnico à montagem não linear da narrativa audiovisual e ao gerenciamento de usuários. O diretor ou o montador da obra será o responsável pela manipulação destes aspectos. Alguns trabalhos foram comparados ao MERCI, entretanto este vem a oferecer um modelo de interatividade que se utiliza de uma outra forma para planejar e desenvolver a narrativa.

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Leal, Frederico Fonseca. "Cine'stesia : uma visão crítica no fazer e pensar cinema /". São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86961.

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Orientador: Pelópidas Cypriano de Oliveira
Banca: Luiz Guimarães Monforte
Banca: Rubens Toledo
Resumo: O presente trabalho equivalente e relatório circunstanciado trata da crítica cinematográfica do ponto de vista da proximidade do crítico em relação ao objeto de análise, levando em conta como principal fundamento da peça cinematográfica a forma como o espectador é tocado.Como recurso é usada uma bibliografia específica sobre cinema e uma filmografia que juntas funcionam como base para a pesquisa. Foram utilizados, ainda, quatro curtas-metragens dirigidos pelo próprio autor entre 2008 e 2010. Um média-metragem documentário foi produzido como trabalho equivalente, onde os conceitos abordados por esta dissertação são exemplificados e discutidos através da pesquisa, sempre tendo como objetivo primário a interação entre espectador e obra
Abstract: The present equivalent work and detailed report treats the cinematographic critic under the point of view of the proximity of the critic in respect to the object of analysis, taking as main basis of the cinematographic play the way that the viewer is reached. As resource it's used a specific bibliography about cinema and a filmography which together work as basis to the research. It were also utilized, four short-cut movies directed by the author himself between 2008 and 2010. A medium-cut documentary was produced as equivalent work, where the studied concepts by this dissertation are exemplified e discussed through the research, always having as primary objective the interaction between viewer and work
Mestre

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Natzén, Christopher. "The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies". Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42168.

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

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Fagan, Calvin. "Embodying virtual war : digital technology and subjectivity in the contemporary war film". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24593.

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Addressing a perceived absence of critical attention to changes in the war film brought about by the advent of the digital, this thesis aims to construct an original study of contemporary (post-2001) US war cinema by exploring the shifting relationship between embodiment, subjectivity and digital (military-technological) mediation. In order to update the critical framework necessary for comprehending how the war film is altered by the remediation of digitised military interfaces, I draw on a highly diverse set of approaches ranging from journalistic accounts of the wars in Iraq (2003-11) and Afghanistan (2001-present), studies of military technologies from Paul Virilio to Derek Gregory and Pasi Väliaho, as well as film/media studies work on ethics and spectatorship. The corpus is similarly diverse, encompassing mainstream genre films such as Zero Dark Thirty (2012), documentaries, and gallery installations by Omer Fast and Harun Farocki, thus offering a comprehensive and inclusive portrait of contemporary cinematic trends. The thesis begins by identifying the genre's post-Vietnam turn to embodied, subjective experience and explores the continuation of this tendency through films such as The Hurt Locker (2008) and its complicity with phenomena such as journalistic embedding. Subsequently, I trace how drones and simulations radically alter conventional cinematic constructions of subjective perceptual experience through readings of Omer Fast's Five Thousand Feet is the Best (2011) and Harun Farocki's Serious Games (2009-10), noting in particular the emergence of the virtualised yet embodied 'presence' of the drone operator and the conditioning of trans-subjective, cybernetic networks via CG simulations. Finally, I turn to the remediation of various digital interfaces in films such as Redacted (2007), comparing the emergent models of military subjectivity discussed in the previous chapters with the spectatorial positions evoked by this hypermediated aesthetic.

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Hansen, James Paul. "Nostalgic Media: Histories and Memories of Domestic Technology in the Moving Image". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492451165107021.

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Webster, Daniel Frank. "Exploring the use of video and computer technology in the classroom". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282862.

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This study, conducted in a large southwestern U.S. city during the spring semester, 1997, explored an environment in which students in an engineering and technology magnet middle school were to work with video and computers to produce a series of products. The initial purpose of this exploratory-descriptive study was to look for literacy events relating to learning about these technologies. This study's population included the teacher, her classroom aide, the school's principal, and approximately 21 students. Students, who were to develop individual 10-step video production projects, achieved a mean of 4.55, a median of 4, and a mode of 3 based on step completed. only one student finished the project. Expecting each student to produce an individual project appeared to restrict the discourse necessary for students to learn the literacies of video and computers. Other mitigating influences involved materials and equipment, teacher health, and outside influences (e.g., a death in the family and university course work). Future studies should consider: (1) a classroom in which a strong collaborative/cooperative group relationship is established among the students and/or; (2) an approach examining several video production classes each day for an entire semester.

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Ebelebe, Ugo Ben. "The Impact of Digital Technology on Emerging Film Industries (Lessons from Nigeria)". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370402.

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The Nigerian film industry is currently experiencing significant structural transformation stimulated by the use of new technologies in its production, distribution and exhibition modes. This research investigates how advances in digital technology are enhancing the aesthetic and narratives of screen content producers in Nigeria in their effort to become relevant in the global marketplace. This thesis will discuss key aspects of digital storytelling in the industry by examining the processes and strategies of ‘new generation’ filmmakers in Nigeria. It will also look at how digital exhibition is reviving the screening of Nigerian films in Multiplex Cinemas using digital projectors with encryption technology, and in what way emerging business models are eliminating the distribution of cheap, easy to copy DVDs – that have plagued the industry – with Nigerian owned digital online platforms such as IROKO TV, and Afrinolly, which are now providing inexpensive and easy access to a vast global audience. This thesis has a visual component which helps answer the questions raised in this research. The documentary film titled Made in Nollywood is meant to complement the written part of the thesis; thus the two components should be read/viewed together.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages & Social Science
Arts, Education and Law
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Amiard, Jean-Francois. "L'hybridation, de nouvelles formes cinématographiques amenées par les dernières technologies dans l'esthétique des films". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00839574.

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L'hybridation, phénomène omniprésent dans de nombreux domaines, a particulièrement influencé l'évolution du cinéma. Alors que les premières générations de cinéastes semblaient avoir tout inventé de ce nouvel art, le cinéma n'a cessé d'emprunter aux dernières technologies et aux dernières formes d'expressions artistiques, à mesure que se mettaient en place des média de plus en plus présents dans la vie quotidienne. L'étude des passerelles qui se multiplient au fil des décennies, permet de cerner les mécanismes qui concourent à l'abolition progressive des frontières entre les média et les disciplines artistiques. Toutefois, la présente recherche ne se borne pas à scruter ces seules œuvres issues des dernières technologies, mais elle se réfère aussi aux pionniers avant-gardistes des années 1920 qui ont posé les bases de l'hybridation. Elle est donc structurée selon deux grands axes : d'une part l'axe historique, l'histoire du cinéma étant profondément marquée par les vicissitudes de notre temps, et d'autre part l'axe de la pluridisciplinarité, incluant les diverses formes d'expressions artistiques et les divers média. Plus spécifiquement, dans le foisonnement de la production cinématographique, la présente étude se propose de faire le point sur la situation du cinéma hybride au tournant du siècle, à partir d'un corpus constitué de douze films produits en France, aux U.S.A. , au Canada et au Japon, entre 1983 et 2004, et auxquels fait pendant Metropolis de Fritz Lang [1927]. Enfin, comme on pourra le constater, cette enquête s'est inspirée des nombreuses et pertinentes études et comptes-rendus qui l'ont précédée.

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Watier, Maxime. "Le VJing ou la visualisation du son dans les performances audio-visuelles contemporaines". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA023.

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Cette thèse a pour objet le VJing, terme désignant l’activité du VJ (pour Video ou Visual Jockey) consistant à créer et manipuler en direct plusieurs sources visuelles par médiation technologique en direction d’un public et en synchronisation avec la musique, et se propose de mettre cette pratique en perspective en l’envisageant comme un travail spécifique opéré sur l’image, interrogeant son paradigme poïétique fondé sur la synesthésie aussi bien que le contexte performatif dans lequel elle se déploie. Empruntant le concept de re-médiation à Jay David Bolter et Richard Grusin, nous étudions les divers processus par lesquels le VJing se réapproprie, tant par la forme que par le contenu, les propriétés constitutives du DJing et des musiques électroniques, tout comme il prolonge directement ou indirectement certains procédés d’union du visuel et du sonore expérimentés sur ces deux médiums audiovisuels que sont le cinéma et la vidéo. S’appuyant sur un corpus de près d’une centaine de créations VJ (extraits de performances, mix réalisés pour support vidéo), notre approche méthodologique consiste à mener plusieurs analyses comparatives avec des œuvres issues du cinéma d’avant-garde, du cinéma expérimental, de l’Art Vidéo, du vidéo-clip, afin de définir progressivement l’identité spécifique du VJing. En combinant perspective théorique, historique et esthétique, nous examinons par quels biais cette pratique a constitué avec le temps un dispositif technologique et projectif visant à la réalisation en temps réel d’un objet audiovisuel basé sur le dialogue constant entre les images en mouvement et la musique (ou la bande-son) et dans quelle mesure ce type de performance se déployant dans le contexte des nouveaux médias, du remix généralisé et du « cinéma élargi » entre en résonnance avec la tradition issue des avant-gardes et celle, aussi bien picturale, musicale que cinématographique, de la Visual Music
The subject of this thesis is VJing, a term referring to the work performed by the VJ (Video or Visual Jockey) consisting of creating and manipulating several visual sources in real-time through technological mediation and for an audience, in synchronization to music. This study intends to put this practice in perspective by considering it as a specific work made over the image, questioning its poietic paradigm based on synaesthesia as well as the performative context in which it takes place. Borrowing the concept of Remediation from Jay David Bolter and Richard Grusin, we study the various processes by which VJing re-appropriates, both in form and content, some constitutive properties of DJing and electronic music, as it also extends directly or indirectly some processes of union of the visual and the aural as it has been experimented in cinema and video. Based on a corpus of about a hundred of VJ works (performance extracts, mixes made for video distribution), our methodological approach consists of conducting several comparative analysis with different works taken from avant-garde cinema, experimental cinema, video art and music videos, in order to progressively defining the specific identity of VJing. By combining theoretical, historical and aesthetic perspectives, we analyze the means by which this practice has established a technological and projective device over time to achieve producing audio-visual objects in real-time based on the constant dialogue between moving pictures and music (or soundtrack) and we try to see how this kind of performance, taking place in the context of new media, mainstreamed remix and "expanded cinema", echoes with the avant-garde tradition and the pictorial, musical as well as cinematic legacy of Visual Music

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