Teses / dissertações sobre o tema "Motion pictures – brazil – history and criticism"
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Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Motion pictures – brazil – history and criticism".
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind". Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
Texto completo da fonteYalvac, Ahsen. "A cultural critique of Turkish cinema in relation to "Arabesk"". Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23272909.
Texto completo da fonteRydzewska, Joanna. "East meets West meets Auteur : transnational encounters with imagined identities in British and Polish cinema". Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678569.
Texto completo da fonteInsell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
Texto completo da fonteArts, Faculty of
Theatre and Film, Department of
Graduate
Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication". University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
Texto completo da fonteRoss, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.
Texto completo da fontePreston, Barry A. (Barry Alan). "Myths and Movies: a Mythographical Methodology of Motion Picture Analysis". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279362/.
Texto completo da fonteGallagher, Kaleen. "Female suicide in German literature and film since 1955". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709204.
Texto completo da fonteHofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir". Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.
Texto completo da fonteMahdaviani, Bita. "Towards the legitimation of cinema : coverage of urban entertainment in the Toronto World and the Globe, 1896-1920". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33913.
Texto completo da fonteGibb, Adrienne. "Poetics of distraction : Ozaki Midori's writings on film". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81492.
Texto completo da fonteTso, Wing-bo, e 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.
Texto completo da fonte吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
Texto completo da fonteVaughan, Michael Hunter. "From camera to code : Godard, Resnais and the problem of representation in film theory". Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.
Texto completo da fonteSa, Neto Arthur Autran Franco de. "O pensamento industrial cinematografico brasileiro". [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.
Texto completo da fonteTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca chegou a se configurar plenamente, investigam-se quais as propostas para sua constituição, analisando desde as promessas aí contidas até suas limitações e contradições. Para realizar tal pesquisa foram utilizados livros, artigos, entrevistas, memórias e os próprios filmes nos quais diretores, críticos, produtores e políticos expõem suas idéias sobre como formar a indústria cinematográfica e quais devem ser os seus objetivos econômicos e culturais. Também foram realizadas comparações com o rádio e a televisão, a fim de se delinear diferenças presentes no ideário das três áreas passíveis de explicar, ainda que parcialmente, os motivos pelos quais o cinema não se desenvolveu economicamente tanto quanto aquelas indústrias culturais
Abstract: Not informed.
Doutorado
Multimeios
Doutor em Multimeios
Wong, Wai-yee, e 黃慧儀. "Returning the gaze: the femme fatale in the film noir of the 90s". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952884.
Texto completo da fonteRamos, Luciano 1946. "Oswaldo Massaini : um produtor na história do cinema brasileiro". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285261.
Texto completo da fonteTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T20:03:14Z (GMT). No. of bitstreams: 1 Ramos_Luciano_D.pdf: 19973950 bytes, checksum: 99e0ecf0f122e3ef9cf74f5702ced618 (MD5) Previous issue date: 2014
Resumo: Esta tese consiste num levantamento acerca da história da produção e da comercialização de filmes de entretenimento em São Paulo, tomada como vertente específica da história do cinema brasileiro e elegendo como protagonista, ou eixo central da narrativa a trajetória de Oswaldo Massaini e das empresas às quais ele esteve vinculado: a Cinédia e, principalmente, a Cinedistri. Foi ele o produtor de O Pagador de Promessas em 1962, o único filme brasileiro a ser agraciado, até hoje, com a Palma de Ouro do Festival de Cannes. O período abordado se inicia nos anos de 1930, com a origem da Cinédia onde Oswaldo Massaini ingressou, em 1943, e termina com a sucessão da Cinedistri pela Cinearte na década de 1980. Mas avança no tempo um pouco mais, porque Massaini deixou sucessores ainda em atividade. Focalizando em detalhe suas estruturas de produção, esta pesquisa procura conhecer melhor os meandros e a lógica dessa trajetória empresarial comprometida com a produção e a distribuição de filmes unicamente brasileiros, marcada por uma continuada estabilidade ao longo de quase meio século
Abstract: This thesis consists of a survey on the history of the production and marketing of filmed entertainment in Sao Paulo, taken as a specific aspect of the history of Brazilian cinema and electing as the protagonist, or central axis of the narrative the trajectory of Oswaldo Massaini and the firms to which he was bound: the Cinédia and especially the Cinedistri. He was the producer of "O Pagador de Promessas" in 1962, the only Brazilian film to be awarded, to this date, with the Palme d'Or at the Cannes Film Festival. The period covered begins in the 1930s, with the presence of Oswaldo Massaini at the Cinédia, which began in 1937 and ends with the succession of the Cinedistri to Cinearte in the 1980s. But advances in time a bit longer, because Massaini left successors still active. Focusing in detail their production structures, this research seeks to better understand the intricacies and logic that committed to the production and distribution business history of only Brazilian films, marked by a continued stability, during over nearly half a century
Doutorado
Multimeios
Doutor em Multimeios
Gao, Qian. "Remembering the Cultural Revolution : history and nostalgia in the marketplace /". view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421604431&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Texto completo da fonteTypescript. Includes vita and abstract. Includes bibliographical references (leaves 182-204). Also available for download via the World Wide Web; free to University of Oregon users.
Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
Texto completo da fonteENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy". HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
Texto completo da fonteShao, Dong, e 邵棟. "A study of yingxi fiction in the early republican China = Min chu ying xi xiao shuo yan jiu". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206447.
Texto completo da fontepublished_or_final_version
Chinese
Master
Master of Philosophy
Khouri, Malek. "Ideology and critical politics in the discourse on Canadian cinema". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26924.pdf.
Texto completo da fonte毛思慧 e Sihui Mao. "Technologising the male body: British cinema 1957-1987". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B42128560.
Texto completo da fonteBain, Keith Norman. "Hyperartifical cinema and the art of cool". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Texto completo da fonteENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Hull, Thomas William Allan. "Selling Moral Panic: Social Scientific Criticism of Movies and Comic Books for Children, 1925-1955". Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1263949945.
Texto completo da fonteDouglas, John Anthony Art College of Fine Arts UNSW. "Aberations of self : manifestations in cinema histories". Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43254.
Texto completo da fonteSmith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
Texto completo da fonteLefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture". Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
Texto completo da fonteGiordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.
Texto completo da fonteThe purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.
Dorworth, Vicky E. "Learning about the criminal justice protagonists: a content analysis of gender messages in the crime film genre". Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/27987.
Texto completo da fonteEd. D.
Belzile, Germain. "Documentaires québécois de 1970 à 1980, esthétique du montage". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26159.pdf.
Texto completo da fonteOscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.
Texto completo da fonteBoswell, Brian T. "From scat to satire toward a taxonomy of humor in twentieth century American media /". Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/637.
Texto completo da fonteTsang, Wai-ho, e 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.
Texto completo da fontepublished_or_final_version
Literary and Cultural Studies
Master
Master of Arts
Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
Texto completo da fonteRogers, Jami. "Shakespeare and the thirties : representations of the past in contemporary performance". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.
Texto completo da fonteMurphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.
Texto completo da fonteLam, Nga Li. "The poetics and sexual politics of the Shaws' huangmeidiao films". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/699.
Texto completo da fonteHopper, Keith. "Imagining otherwise : Neil Jordan's counter-narratives". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
Texto completo da fonteBeaulieu, Renée. "Le poids des autres, suivi de La cohérence des personnages dans les scénarios de films". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53922.pdf.
Texto completo da fonte廖志強. "<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration". HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.
Texto completo da fonteHanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
Texto completo da fonteCarvalho, Danielle Crepaldi 1982. "Luz e sombra no écran : realidade, cinema e rua nas crônicas cariocas de 1894 a 1922". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269890.
Texto completo da fonteVol. 2 possui o subtítulo: Antologia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese compila e analisa a prosa cronística a respeito do kinetoscópio/ cinematógrafo, publicada em periódicos cariocas de 1894 a 1922 - dos primórdios dos media até o estabelecimento do cinema enquanto indústria sólida e arte. Debruça-se sobre uma questão candente postulada neste período que vai da entrada do kinetoscópio no Brasil até o burilamento do star system: aquela que diz respeito ao "realismo" cênico; passo fundamental na transformação do cinema norte-americano em uma das principais indústrias de seu país. O "realismo" das imagens em movimento, desde logo assinalado semanticamente pela denominação de "objetiva" atribuída às lentes que as captavam, enredou os cronistas desde a chegada do invento ao Brasil. O estudo centra-se no modo como esse realismo foi experimentado e pensado por escritores como Arthur Azevedo, Paulo Barreto/João do Rio, Olavo Bilac, Elvira Gama, Figueiredo Coimbra, Eva Canel, Baptista Coelho, Figueiredo Pimentel e Graça Aranha. O eixo da pesquisa visa a estabelecer como o kinetoscópio e o cinematógrafo moldaram o olhar dos cronistas à cidade e, em especial, às ruas do Rio de Janeiro, naqueles anos em que as vielas acanhadas da cidade provinciana transformavam-se em vias elegantes abertas como palcos, a convidarem a "sociedade" a trocar o âmbito privado pela flânerie pública. O trabalho procura analisar estruturalmente e tematicamente os textos cronísticos, no diálogo que estabeleceram com as produções cinematográficas vistas na capital. Lança-se, portanto, num trabalho interdisciplinar, que procura ler o cinema a partir das múltiplas relações estabelecidas com as produções culturais de seu tempo: o gênero teatral, a mise-en-scène dos museus, os panoramas pintados, o romance folhetinesco, a notícia jornalística, etc. Falamos, pois, de um percurso de mão dupla entre encenação e realidade, segundo o qual o "real" é encenado tendo-se por base convenções cênicas e literárias já solidificadas
Abstract: This thesis compiles and analyses the chronicle regarding the kinetoscope/ cinematograph published in carioca's newspapers and magazines from 1894 to 1922 - from the beginning of these media up to the establishment of the cinema as both a solid industry and as an art form. It aims to deal with a big issue of this period of time that goes from the arrival of the kinetoscope in Brazil until the development of the star system: the scenic "realism"; a fundamental step for the transformation of the North American cinema in one of the most important industries of the USA. The "realism" of the moving pictures, semantically determined by the name given to the cinematographic lenses - "objective" - moved Brazilian newspapers writers from the beginning. This piece of work centers in the way this realism was experimented and though by writers such as Arthur Azevedo, Paulo Barreto/João do Rio, Olavo Bilac, Elvira Gama, Figueiredo Coimbra, Eva Canel, Baptista Coelho, Figueiredo Pimentel and Graça Aranha. The goal of the research is to establish how the kinetoscope and the cinematograph gave form to the way writers observed the city in general, and specially the streets of Rio de Janeiro in those years when the unbreathable alleys of the provincial city turned into long and elegant avenues built up as open stages - inviting the "Society" to give up private habits to public ones. This study regards the chronicles considering their structure and themes, and the dialogue they established with the moving pictures seen in Rio. Therefore, it's driven into an interdisciplinary job, regarding the cinema from the multiples relations it established with the cultural production of its time: the theater plays, the museums' mise-en-scène, the painting "panoramas", the newspaper novels and reports, etc. We're talking about a two-way path between staging and reality, according to which "real" is staged using as a model solid scenic and literary conventions
Doutorado
Historia e Historiografia Literaria
Doutora em Teoria e História Literária
Callahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.
Texto completo da fonteHwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
Texto completo da fonteBaldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
Texto completo da fonteGille, Quentin. "Propositions pour un paradigme culturel de la phono-cinématographie: des phono-scènes aux vidéoclips et au-delà". Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209309.
Texto completo da fonteNotre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips).
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
Leme, Caroline Gomes 1986. "Cinema e sociedade = sobre a ditadura militar no Brasil". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281781.
Texto completo da fonteAcompanhado de 2 DVDs: Cenas compiladas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: De 1979 aos dias atuais, a ditadura militar fez-se presente em um número significativo de obras fílmicas. Analisar essa produção cinematográfica é examinar como está sendo ressignificado o passado, quais questões estão sendo obliteradas, que ambiguidades e tensões perpassam a interpretação do processo sócio-histórico. Esta pesquisa propõe-se a trabalhar a relação entre cinema e sociedade no que tange aos enunciados social e culturalmente construídos a respeito do período do regime militar vigente no Brasil de 1964 a 1985. O objeto de investigação são os filmes de longametragem lançados entre 1979 e 2009 que se reportam ao tema da Ditadura Militar no Brasil e seus desdobramentos. O pressuposto é o de que as obras fílmicas, enquanto produções culturais, podem ser consideradas meios legítimos e diferenciados para o conhecimento da sociedade, uma vez que são constitutivas da realidade social, produzindo significados, valores e proposições expressados através de sua construção própria. Pauta-se na concepção de cultura do materialismo cultural de Raymond Williams (2000) e fundamenta-se essencialmente no referencial teórico-metodológico de Pierre Sorlin (1985,1994). Realiza-se um levantamento amplo e fundamentado da filmografia que tematiza a ditadura militar brasileira e dedica-se um olhar mais atento aos seguintes filmes: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980); Nunca fomos tão felizes (Murilo Salles, 1984); Corpo em delito (Nuno Cesar Abreu, 1990); Ação entre amigos (Beto Brant, 1998); A terceira morte de Joaquim Bolívar (Flávio Cândido, 2000) e Zuzu Angel (Sérgio Rezende, 2006), os quais correspondem a um espectro amplo de possibilidades cinematográficas.
Abstract: From 1979 to today, the military dictatorship has been theme of a significant number of movies. Analyze this filmography is to examine how the past has been reframed, what aspects are being obliterated, what are ambiguities and tensions that underlie the interpretation of socio-historical process. This research proposes to study the relationship between cinema and society with respect to the socially and culturally constructed enunciations about the period of military rule in Brazil (1964-1985). The object of investigation are the feature-length films released between 1979 and 2009 that relate to the theme of military dictatorship in Brazil. It is assumed that the movies, as cultural productions, can be considered legitimate and differentiated sources for investigate the society, since they are constitutive of social reality and produce meanings, values and propositions expressed by its own construction. It is guided in the concept of culture from Raymond Williams (2000)'s cultural materialism and is based essentially on Pierre Sorlin (1985, 1994)'s theoretical and methodological framework. It is done a broad and grounded survey of the filmography that deals with the Brazilian military dictatorship and is dedicated a closer attention to the following films: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980);
Mestrado
Sociologia
Mestre em Sociologia
Botha, Jacqueline. "The myth is with us : Star Wars, Jung's archetypes, and the journey of the mythic hero". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019/506.
Texto completo da fonteRobinson, Scott E. (Scott Elmon) 1961. "Dichotomy in American Western Mythology". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.
Texto completo da fonte