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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 5 marca 2023

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1

Rassos, Effie School of Media Film &amp Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian". Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.

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This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.

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2

Law, Yuk-wa. "On time and festivity : a study of Chinese new year films /". Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38301155.

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Pigott, Michael. "Time and film style". Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3780/.

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This thesis proposes that the temporality of the moving image is not just its basic condition, but also an alterable stylistic parameter. By analysing three broad stylistic categories of cinema - Classical Continuity-editing, Montage, and Long Take - it is demonstrated that the time of a sequence or shot operates as an active element within the formal fabric of the work. Beyond this, it shows that these film styles may in fact be defined by the characteristic ways in which they treat time. Methodologically, it adapts concepts from the philosophies of Gilles Deleuze, Henri Bergson and Hans Georg Gadamer, fusing them with close textual analysis to allow the theory to grow around the practical instance of its object. One of the primary goals is to establish a critical idiom capable of dealing appropriately and sympathetically with this neglected aspect of film aesthetics, to uncover a suitable vocabulary for talking about the expressive use of time in cinema. This study contributes to the existing body of research on cinematic time (which is primarily concerned with ontology and ideology) by addressing the distinct lack of critical and theoretical work that engages with the temporality of cinema at the microscopic level of the moment to moment passage of a scene, that is, the temporal stylistics of cinema.

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4

Barotsi, Rosa. "Contemporary European cinema, time, and the everyday". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648429.

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Raffaele, Julie. "Tide weavers project". Thesis, Raffaele, Julie (2007) Tide weavers project. Masters by Research thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/271/.

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The Tide Weavers Project examines the representation of landscape in motion picture films and explores the ways in which certain filmmakers closely reference the desert landscape to mirror and represent notions of self and consequently, to shape film character portrayal. I argue that these filmmakers use this setting to describe a particular relationship for themselves and their characters. In this relationship the desert becomes a space in which to project and examine aspects of self and it can initiate a transaction or relationship so intimate that at many points, (human) being becomes landscape, and landscape becomes being. I will draw on the work of a range of Philosophers and Postcolonial theorists to inform my reading of this relationship and to frame my engagement with specific Australian and international films. The inclusion and analysis of my own desert-based motion picture script Tide Weavers will add to my understanding of the possibilities of film (as a medium) provides for altering an audiences' reading of landscape. I challenge the notion of estrangement from the land, either though ignorance or where colonialist landscape theory detracts from a sense of connectedness, such as through the superficial or subjective application of cartography, fear arising from monotonous and unfamiliar geography, and the eroticising of land as woman. I engage with current theory surrounding the idea of fusion with landscape to open new opportunities for exploring landscape/character interaction. I also propose that collaborative working processes between indigenous and non-indigenous filmmakers have the potential to alter the ways in which landscape is both represented and interpreted. I then look at how these ideas are translatable to the themes of the Tide Weavers script. Grief and gender are primary themes, with an emphasis on how respite, sacred space and surrender to landscape can lead to healing. I believe this work will contribute to exciting new filmic interpretations of landscape theory.

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6

Raffaele, Julie. "Tide weavers project". Raffaele, Julie (2007) Tide weavers project. Masters by Research thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/271/.

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The Tide Weavers Project examines the representation of landscape in motion picture films and explores the ways in which certain filmmakers closely reference the desert landscape to mirror and represent notions of self and consequently, to shape film character portrayal. I argue that these filmmakers use this setting to describe a particular relationship for themselves and their characters. In this relationship the desert becomes a space in which to project and examine aspects of self and it can initiate a transaction or relationship so intimate that at many points, (human) being becomes landscape, and landscape becomes being. I will draw on the work of a range of Philosophers and Postcolonial theorists to inform my reading of this relationship and to frame my engagement with specific Australian and international films. The inclusion and analysis of my own desert-based motion picture script Tide Weavers will add to my understanding of the possibilities of film (as a medium) provides for altering an audiences' reading of landscape. I challenge the notion of estrangement from the land, either though ignorance or where colonialist landscape theory detracts from a sense of connectedness, such as through the superficial or subjective application of cartography, fear arising from monotonous and unfamiliar geography, and the eroticising of land as woman. I engage with current theory surrounding the idea of fusion with landscape to open new opportunities for exploring landscape/character interaction. I also propose that collaborative working processes between indigenous and non-indigenous filmmakers have the potential to alter the ways in which landscape is both represented and interpreted. I then look at how these ideas are translatable to the themes of the Tide Weavers script. Grief and gender are primary themes, with an emphasis on how respite, sacred space and surrender to landscape can lead to healing. I believe this work will contribute to exciting new filmic interpretations of landscape theory.

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7

Martin-Jones, David. "Becoming-other in time : the Deleuzian subject in cinema". Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/2738/.

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Through an engagement with Gilles Deleuze's philosophy of the cinema, this thesis explores how the notion of labyrinthine time is represented differently in movement- and time-images. Part I contrasts the different types of subject that are created in the narratives of the two types of image. This begins with an exploration of the philosophical conceptions of time behind the two images and the subjects they create. Chapter two focuses on the role of memory in the creation of these subjects, drawing on the works of Henri Bergson, and using films by Hitchcock and Fellini. The third chapter delves into the recent re-emergence of the debate over spectator positioning, and questions what Deleuze can offer this field. Here the thesis most comprehensively negotiates its place within the field of film studies, through its interaction with psychoanalytical theories of the subject, and the debate over what exactly constitutes suture. Part II focuses on the movement-image. In particular it explores characters' attempts to perform their present identities differently, by falsifying their past and taking a new direction through the labyrinth of time. Chapters four and five analyse the way in which this performativity is represented in, Sliding Doors, Run Lola Run, The Talented Mr Ripley and Memento. These recent films are seen to draw a broad distinction between female performativity, which is sanctioned, but only for a brief while, and male performativity, which is represented as getting away with murder. Movement-images are thus found to uphold a very traditional gender binary, by reterritorializing the labyrinth's subversive potential into a legitimizing straight line and its marginalized, labyrinthine other. This is a conclusion that had already been suggested in chapter three.

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8

Law, Wing-mei, i 羅詠美. "The challenges to historical time in postmodernism". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29813712.

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9

Totaro, Donato. "Time and the long take in The Magnificent Ambersons, Ugetsu and Stalker". Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/2355/.

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My thesis is an examination of the formal and textual aspects of the long take, principally as used in The Magnificent Ambersons (1942, Orson Welles), Ugetsil (1954, Kenji Mizoguchi), and Stalker (1979, Andrei Tarkovsky). The thesis begins by defining the long take as a shot of 25 seconds or longer that usually contains one of the following qualities: a sense of completeness or wholeness, 'durational complexity, ' and a 'soft' formal/thematic determinism. This working definition is used as part of a 'philosophical' formal-textual methodological approach to the long take informed by a 'common sense' philosophical understanding of time. An important element of this formal-textual methodology is 'contextual statistical analysis' (CSA) and close, accurate shot description. This 'common sense' philosophical understanding sees time as being expressible by properties that are both outside the self (external time) and by properties that are within the self (internal time). External time becomes the 'measurable' aspects of the long take (duration), which condition and are conditioned by the 'less quantifiable' aspects of a long take's internal time (pertinent formal and textual properties within the shot). Internal and external time combine to express the 'emotional quality' of time in a long take, which I call temporal tonality. By employing this formal-textual methodology to my three case study films, I demonstrate how a dominant use of the long take is an important (though not exclusive) formal component of each film's particular thematic and/or philosophical treatment of time. The long take is also analysed in two other case studies with more general designs: a taxonomy of the long take time and narrative time (Chapter 4), and an analysis of the long take as an expressive narrative agent in popular cinema (Chapter 5). Lastly, the statistical differences concerning long take usage gives rise to an articulation of three long take practices: Dialectical, Synthetic, and Radical. This original observation will lay down a general groundwork for further exploration of long take practice, style, theory, and analysis.

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10

Tatlock, Melissa S. "From Titanic to Star Wars : a Derridean deconstructive analysis of the minimization of violence in the 25 top grossing films of all-time /". Halifax, N.S. : Saint Mary's University, 2009.

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Ramlochand, John. "Japanese cinema : time space nation". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102159.

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This work utilizes a spatial theory approach to meditate on postwar Japanese society and cinema. It is not a history of Japanese postwar cinema, or a survey of notable directors and genres. Rather, the focus is specifically on film and its relation to the deeper tropes of Japanese society; in particular, on how the sense of nation is affirmed and/or challenged within a postwar period of remarkable change. Understanding such a structure greatly aids in analyzing the forms and meanings within the films. The question of National Cinema, then, is approached by exploring how the interaction of spatial-temporal elements affect both the social construction and filmic practices of the nation.
The first part of the dissertation features an extended analysis of Japanese society using a variety of historical, philosophical and theoretical sources, both Japanese and foreign. They provide a theoretical base and a social history that ground the critical readings of the selected films; all of which are well-known and widely available. Part two is a close textual analysis of five 1950s productions---from a range of films and genres---that are contrasted with three films from the late 1980s/early 1990s. The final chapter examines notions about National Cinema in light of the preceding film analysis.

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12

Walsh, John. "A space and time machine : actuality cinema in New York City, 1890s to c. 1905". Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/10142/.

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Urban actuality films are short, single shot views of street scenes, skyscrapers or construction sites, or views from moving vehicles. They are, typically, regarded as simple filmic snap-shots. Conversely, early cinema is conventionally thought to be a complex hybrid medium, a crucible for the idea and representation of the modern. Through close, contextualised analysis of a series of New York films, this study addresses the discrepancy between the putative insubstantiality of actuality films and the evident complexity of early cinema. A hitherto overlooked historical coincidence of actuality cinema, the modernisation of New York and its intermedial culture is shown to provide both a subject and setting for filmmakers. Actuality cinema is a technology of the present; accordingly, temporality is pivotal for this study. Tom Gunning's 'cinema of attractions' thesis and a neurological conception of modernity posit a familiar shocks-and-jolts axis of the relations between cinema and modernity. In contrast, I argue for an alternative axis, founded in periods, rather than moments, of time and seek to demonstrate cinema's role as a technology of an expanded present time. Fifteen films of transport systems, skyscraper building sites and ways of seeing New York's streets, make up the primary source material. In these films, time provides a space for the representation and negotiation of the modern. An expanded present fosters a thickened visuality. Within New York's intermedial culture, the adoption of stereoscopic visual practices was key to constructing a coherent filmic present, and a place for the spectator within a cinematic world. As a functioning space and time machine, a cinema of simultaneity, the complexity of actuality filmmaking practices increasingly moved actualities towards, and enabled their interrelation with, an emerging narrative cinema. Rather than a failed experiment, New York actuality cinema is here demonstrated to be an example of cinema working.

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Law, Yuk-wa, i 羅玉華. "On time and festivity: a study of Chinese newyear films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.

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

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Lord, Bruce Allan. "Time matching of separate cine camera views for three dimensional motion studies". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25144.

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The purpose of this study was to evaluate the importance of time-matching separate cine camera views in three-dimensional motion studies and to develop analytical methods to accomplish the time matching. An image space was calibrated using twenty-four control points and motion picture films at about 60 frames per second were taken of a moving bar, and of a subject putting a shot. Combinations of correctly and incorrectly matched views were compared for their accuracy in determining the positions of six object points. An algorithm was derived which included the timing variable in the least squares solution for the X, Y, and Z coordinates. These "best fit" solutions for the timing and for the coordinate locations were compared with criterion values. Alterations in the timing of views tended to introduce a bias into the coordinate locations. The magnitude of the bias was a function of the velocity of the object points and of the camera positioning. To keep final coordinate errors below 5% required the two views to be matched to within 0.008 seconds. The time matching algorithm was able to match the views to within 0.005 seconds. The corresponding coordinates could vary by an average of 2.4% from the correct ones. It was concluded that the analytical time matching algorithm could produce acceptable results if extreme accuracy was not required.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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McSorley, Tom. "Modern times : time and the modern in the fiction films of William D. MacGillivray". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33477.

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The work of contemporary Atlantic Canadian filmmaker William O. MacGillivray is a set of confrontations. His five fiction feature films investigate, perhaps even recalibrate, conventionally understood ideas of centre and margin, time and space, and most pointedly, traditional and modern. What MacGillivray presents in his work is not, in the manner of George Grant, a lament for a traditional or old and noble world locked inexorably in the processes of technological erasure. Instead, echoing the actively ambivalent response to technology-induced change advanced by Harold Innis and others, what the films reveal is a range of possible alternative critical positions within the experience of modern lite in contemporary Atlantic Canada. As Carlos Fuentes reminds us, this does not necessarily entail 'sacrificing the past in favour of the new,' as much of the rhetoric surrounding notions of the modern insists, but rather the 'maintaining, comparing, and remembering values we have created, making them modern so as not lose the value of the modern.' ln a sense, this process is about remembering time. Fundamentally, in creating rich, complex narratives about a part of Canada facing considerable and rapid change, MacGillivray is making his own cinematic 'plea for time' in his confrontations with notions of what constitutes a modern existence. It is also a plea for space, to remember that as there are 'different modern times' there are also 'different modern spaces.'

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Vanmalderghem, Olivier. "L'unité du film: une systémique du récit cinématographique". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212516.

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Elkington, Trevor G. "Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.

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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema". View abstract, 2009. 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:3375107.

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Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /". View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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Parpoulova, Petia R. "Amalgamated spaces of modernity /". Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/6638.

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Gotardo, Paulo Fabiano Urnau. "Modeling Smooth Time-Trajectories for Camera and Deformable Shape in Structure from Motion with Occlusion". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280941484.

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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.

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Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times reinventing iconographies, nation, and gender /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164735049.

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Powell-Jones, Lindsay. "Deleuze and Tarkovsky : the time image and post-war Soviet cinema history". Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/93276/.

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Andrei Tarkovsky (1932-1986) is remembered as one of Russia's most influential and celebrated filmmakers. Over the course of his career he released seven feature films: Ivan’s Childhood (1962); Andrei Rublev (1966, USSR release 1971); Solaris (1972); Mirror (1975); Stalker (1979); Nostalghia (1983); and The Sacrifice (1986). Drawing on a history of post-war Soviet cinema, this thesis brings his films into contact with the concepts outlined in Gilles Deleuze’s two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Deleuze's Cinema books provide a system of classifications – what he calls a taxonomy or geology – of cinematic images. While their primary focus is on Western-European and American cinema, this thesis re-conceives Deleuze’s approach to film outside of that narrow context. My approach is informed by the specific historical, cultural, and industrial contexts of Tarkovsky's films, establishing the first sustained encounter between Deleuze and post-war Soviet cinema. In doing so, I offer a fresh perspective on Deleuze’s cinema concepts by re-conceiving the division between his 'movement-image' and 'time-image' in the context of the post-war Thaw, the development of the Soviet space programme, Stagnation, and the escalation of nuclear threat following the Soviet invasion of Afghanistan.

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Guler, Mehmet Soner. "3d Animation For Hand Preshaping". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/2/12607117/index.pdf.

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The human hand is an essential part of human body, capable of making complex and expressive motions. Its complicated structure makes it a formidable challenge for animators to animate hand motions. Most computer graphics research on hand motion has focused on preshaping, preshaping and gestures with application to areas of human computer interaction and sign language. There are also a number of educational applications such as typing, playing of musical instruments etc. From a computer graphics standpoint, these applications are difficult in animation of hand. This thesis aims to animate 3D hand preshaping activity for a chosen virtual 3D object in real-time. Researches on human hand kinematics, structure and geometric stability analysis on preshaping are the main motivation for the algorithms developed in this thesis for animating 3D preshaping. The algorithm that we developed is made of two main parts. The first part is related with the precision type preshaping requiring the finger-tips positioning for a given object such as the cube, cylinder or sphere. First part is completed by procedural approach which is based on kinematics to generate the motion of the hand for the given virtual object at the determined finger-tip positions. Second part related with the wrap type preshaping aims to have maximum interaction between hand and object. For this purpose, we have developed the collision detection algorithm to find intersection surfaces between hand and object. Even though developed algorithm based on the kinematics was used for the precision type preshaping application, it can also be used for many other applications requiring hand animation given the positions of finger tips.

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Fitch, Stephan J. (Stephan John). "Cinema Server = s/t (story over time) : an interface for interactive motion picture design". Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/66353.

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Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book". Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.

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This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.

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Turner-Reed, Laura. "'Gimme That Ole Time Religion': Traditionalism, Progressivism and Popular Media". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3202/.

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This thesis examines the role of Christianity in contemporary American culture using 1990s popular media as cultural artifacts. Building on theories of ideological analysis and hegemony, this project uncovers a balance between progressive and traditionalist ideologies in American culture with progressive ideologies most often superficially acknowledged and incorporated into dominant traditionalist Christian ideologies through hegemonic negotiation. An analysis of the popular Hollywood films The Last Temptation of Christ, Leap of Faith, Michael, City of Angels, Dogma and Keeping the Faith, illustrates this process by addressing Christian dominance in multicultural America, a backlash against feminism constructed through patriarchal and “family values” ideologies, and an integration of popular culture and traditionalist Christianity.

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Hernon, Hiatt K. "INFINITE JEST 2". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1526633419508737.

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Wade, Tom H. "Circulation of the Light: Mandalas, Alchemy, and Non-Linear Cinema". Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors149441657291478.

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

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

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Tam, Siu-yan Xavier. "Between penumbrae and shadow contextualizing transnational queer Chinese cinemas /". Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44142663.

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Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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Wang, Qi. "Writing against oblivion personal filmmaking from the forsaken generation in post-socialist China /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619151901&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Franco, Carlos Fernando Martins. "Modulações do tempo no audiovisual: dos espaços densos aos tempos espessos". Universidade do Vale do Rio dos Sinos, 2010. http://www.repositorio.jesuita.org.br/handle/UNISINOS/4267.

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Streszczenie:

Submitted by Fabricia Fialho Reginato (fabriciar) on 2015-07-06T23:21:44Z No. of bitstreams: 1 CarlosFranco.pdf: 2349826 bytes, checksum: 04c86e29097d13a9ffab0780b0f37a32 (MD5)
Made available in DSpace on 2015-07-06T23:21:44Z (GMT). No. of bitstreams: 1 CarlosFranco.pdf: 2349826 bytes, checksum: 04c86e29097d13a9ffab0780b0f37a32 (MD5) Previous issue date: 2010-06-16
UFT - Universidade Federal do Tocantins
A presente tese buscou entender a tensão perceptória no audiovisual quando num plano não há cortes, cortes esses através dos quais tradicionalmente se confere ritmo a um fluxo. Partiuse de Bergson em Matéria e memória e Deleuze em Diferença e repetição, que versam sobre o tempo e o espaço, bem como de pensadores do audiovisual como Eisenstein, Martin e Aumont. A desconstrução das três dimensões do tempo (diegético, enunciatório e perceptório), clássicas no cinema, se deu em paralelo à análise de planos-sequência de materiais expressivos diversos. Utilizou-se o método intuitivo de Bergson, que permitiu cogitar a existência de uma quarta dimensão, a do tempo dos objetos no quadro, que comporta seu dinamismo bem como sua duração. Chegou-se assim a definir, como alternativa ao conceito de ritmo, a modulação do tempo como uma articulação entre o tempo perceptual e o tempo dos objetos, que abarca tanto o intervalo (enquanto espaços ou instantes perceptíveis no quadro) quanto a duração (e outras virtualidades, no fluxo).
This research tried to understand framed temporality phenomena inside audiovisual expression. This has begun from Bergson and Deleuze, with these theories that studies time and space, as well as motion pictured expressions authors as Eisenstein, Martin and Aumont. The unconstructing the three classical time dimensions (story time, opera time and perceptual time) has happened simultaneously with the non-cut scene analyses of several expressive materials. This has used the intuitive method by Bergson, which permitted speculate the existence of the forth time dimension beyond the three classical, the object time on a frame, composed by its spiritual time and dynamic time. This has defined, as alternative from rithm concept, the time modulation as an articulation between perceptual and object time, that contains the dynamic interval and spiritual time (durée).

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Tiburzi, Brian M. "The fifth generation Chinese cinema's "great leap forward" /". online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1445180.

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