Дисертації з теми "Acting for film"
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1
Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15999/1/Rosalind_Nugent-Williams_Thesis.pdf.
Анотація:
"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them."
- Ariane Mnouchkine
(from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.)
I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance?
This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia.
My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
2
Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15999/.
Анотація:
"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
3
McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
Анотація:
This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
4
Wells, Zachery D. "We Should Be Together: An Exploration of Acting in and Directing the Same Film." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1402947699.
5
Bester, Lelia. "Assessment of a training programme for actors to make the shifts from theatre acting to film acting." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75514.
Анотація:
The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences.Thesis (PhD)--University of Pretoria, 2019.
Drama
PhD
Unrestricted
6
Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.
Анотація:
Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the class work lined up with my learning objectives perfectly. The actor must take control of his/her career by constantly working on the craft, and that can easily be done through going out and shooting one’s own work. Even if it doesn’t result in being ‘discovered,’ the pursuit allows the actor’s creativity and perspective to be ever widening.
7
Chamberlain, Amberly. "The naked truth| An examination of gender bias in the field of acting." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118892.
Анотація:
This thesis exposes unconscious gender bias in actor training and the entertainment industry. Such exposure will aid teachers and industry professionals in identifying language and practices that perpetuate this prejudice, and ultimately, effect revisions, forging a new standard for good acting. I posit that images generated by an industry that continues to drive this bias through unequal opportunities for women, double standards, and the preeminence of the male gaze in cinematic practices, contribute to situating women as objects of desire, rather than as subjects who command professional equity and respect. I will introduce the science behind this long-standing problem and the need to reorient the brain toward gender equality, thereby offering means through which students, educators, and industry professionals can forge an equitable environment, one that empowers young women to take ownership of their presence in the entertainment industry and thus society’s perception of them.
8
O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
9
Koble, Sean. "Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18363.
Анотація:
The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity.
By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism.
10
Foley, Damian T. "Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
Анотація:
This practice-led research formulates a method for collaborative characterisation by merging the filmmaker/director’s approach and the screen actor’s technique. This method provides access to a deeper emotional ‘inner world’ submerged within the imagined subconscious of the fictive character. This exploration into varying improvisational filmmaker/director’s practices aimed to identify the most effective methods of supporting the screen actor’s access to emotional subtext by submergence and living through the fictive character’s subjective experience. The outcome is a flexible directorial approach focused on collaborative characterisation method/s to be employed during the filming process while remaining within the scripted context.
The research was inspired by luminary improvisational and collaborative filmmakers, including John Cassavetes and Mike Leigh, and further contextualised by contemporaries such as Derek Cianfrance, Milos Forman, Darren Aronofsky and Lynn Shelton. This thesis draws parallels between the theoretical underpinnings of their approaches and the pedagogical frameworks of acting technique authors, teachers and coaches, including Judith Weston, Sandford Meisner, William Esper and Robert Carnegie.
Apart from literature and practice reviews, this research involved three practice-led phases: shadowing improvisational filmmaking practice alongside studio exploration, semi-structured interviews (with the student actors), and journaling. Investigation into Leigh’s process was extended by direct observation and participation in the creative practices of directors Chris Edmund and Robert Marchand. The initial inquiry into Leigh’s process investigated whether any improvisational techniques could be extended to evoke an unexpected moment-to-moment awareness in an actor’s performance during the actual filming.
This led to the second phase of questioning to determine which techniques practiced by Leigh could be reformulated and extended to those of filmmakers such as Cassavetes, Cianfrance and Shelton. In addition, Judith Weston’s active engagement in improvisational rehearsal techniques led me to participate in her directors’ workshop at Judith Weston Studio in Los Angeles, California.
The findings from the first two phases resulted in a third, unexpected question, suggesting this directing approach be reframed and contextualised by the acting technique pedagogies of Weston and Meisner. Consequently, the final significance of my research findings occurred while auditing a Meisner acting class taught by founding director Carnegie at the Playhouse West, North Hollywood, California. This research offers an alternative model for collaborative directors, which is based on Meisner’s acting technique and newly aligned with the directing practices of Cassavetes and Shelton. My conclusive outcome involved reformulating screen acting techniques based on Meisner’s departure from Konstantin Stanislavski. Subsequently, this reformulation clarified and revealed my own pedagogical schism with Leigh’s and Weston’s approaches.
The goal remained to find an acting technique that would cohesively merge with a directing approach that allowed the actor to retain immediacy and spontaneity while staying emotionally congruent with the character’s imaginative backstory and yet working moment-to-moment with their still emerging ‘life script’. The significance of this research is its formulation of a collaborative language and working method for actors, directors and filmmakers focused on evoking an authentic voice for the fictive character as if they possessed a consciousness of their own volition while living through the actor.
11
Roberts, Jhanneu. "The True Cost of Our Entertainment: An Inside Look to Modern Method Acting and its Consequences." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1322.
Анотація:
This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.
12
Hannon, William M. "THE GENERALIZED UNIVERSAL REYNOLDS EQUATION FOR VARIABLE PROPERTY FLUID-FILM LUBRICATION AND VARIABLE GEOMETRY SELF-ACTING BEARINGS." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1156347717.
13
Williams, Derek JG. "Pavlov's Dog." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618987375859709.
14
Stoner, Zachary. "Hell is a Game Show: An Artistic Interpretation of the Afterlife." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524835391884507.
15
White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.
Анотація:
During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing I feel that it can lead some students down a dead-end path of self-exploration and individualization of their personal teaching style. I feel that I have been given a rare and invaluable opportunity in that I have been permitted to assist so many different teachers in such a wide array of subjects. In this thesis, I propose to examine the widely varied experiences that I have had here at VCU as a Teacher and Teaching Assistant. I will look at the teaching styles that I have witnessed, the methodologies and approaches of each course, and most importantly I will put forth my personal teaching philosophy that I have developed from my experiences here at VCU.
16
Brown, David Cleveland. "How to be a Misanthrope: Creating the Title Role in Moliere’s The Misanthrope." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2128.
Анотація:
This thesis documents my research, rehearsal, and performance of the role of Alceste in Moliere’s The Misanthrope, which includes, a biography of Moliere, character analysis, role development, a rehearsal journal, character research, acting process, evaluation of my performance, and script analysis. The Misanthrope was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center September 17 - 19, 24 - 26 at 7:30pm, and September 27, 2015 at 2:30pm.
17
Hart, Hilary. "Sentimental spectacles : the sentimental novel, natural language, and early film performance /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120625.
Анотація:
Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.
18
Baker, Angela Katherine. "Alba Emoting : a safe, effective, and versatile technique for generating emotions in acting performance /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2514.pdf.
19
Quintal, Shanda. "Fair to Middlin’: How the Mediocre White Male Trope as the Exemplar of Human Experience and Universal Truth Fails to Adequately Prepare the Diverse Field of Contemporary Actors and Audiences in Film, Television and Theatre Today." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2678.
Анотація:
Non-traditional casting has been a controversial practice in film, television and theatre that was implemented to offer people of color and women opportunities which had previously been available to white or male performers. The following is a case study documenting the process by which I have discovered that non-traditional casting as a practice contributes to the oppression of people of color as well as supports the status quo of the white patriarchy. This case study is analyzed from the historical, sociological, psychological and philosophical theories and ideologies relevant to the unsuccessful attempt of a female actor of African-American descent at portraying a white, Evangelical, male minister. It concludes with an invitation and an approach to making better people.
20
Greve, Sabrina Tozatti. "O Ator do teatro ao cinema: um estudo sobre apropriações." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-100232/.
Анотація:
Esta dissertação se propõe a investigar a função do ator e seu modelo de interpretação para o cinema, partindo de apropriações da pesquisa teatral. A partir do sistema de atuação criado por Konstantin Stanislavski, estabeleço uma trajetória de apropriações que se inicia concomitantemente ao desenvolvimento da linguagem cinematográfica, contemplando primeiramente a pesquisa dos cineastas russos Lev Kuleshov, Sergei Eisenstein e Vsevolod Pudovkin. Em um segundo momento, analiso como as ideias de Stanislavski chegaram nos Estados Unidos, influenciando tanto o teatro quanto o cinema americanos. A criação do Actors Studio e a formulação do \"Método\" americano de interpretação são abordadas sobretudo a partir das ideias de Elia Kazan e Lee Strasberg. Por fim, no Brasil, discorro sobre o projeto Prêt-à-Porter (1998 - 2011), criado por Antunes Filho, e sua influência na formação de toda uma geração de atores presentes na produção cinematográfica contemporânea. Nesse percurso que vai do teatro ao cinema, em certos momentos numa via de mão dupla, destaco os procedimentos que contribuíram para o processo de criação dos atores, e a forma como influenciaram sua expressão em ambas as áreas da criação artística.This project aims at investigating the role of the actor and his/her model of acting for the screen, from a theatrical perspective. Starting with the System created by Konstantin Stanislavski, I establish a trajectory of appropriations, contemplating primarily the researches of Soviet filmmakers Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. Then, I analyze the arrival of Stanislavski\'s ideas at the United States, and how they influenced both American theater and cinema. The creation of the Actors Studio and the formulation of the American Method of acting will be approached mainly through Elia Kazan and Lee Strasberg\'s ideas. Finally, in Brazil, I analyze the project Prêt-à-Porter (1998 - 2011), created by Antunes Filho, which influenced the formation of a whole generation of actors also present in contemporary film production. Thus, I highlight some procedures that highly contributed to the creative process of actors, from the stage to the screen.
21
Carnicé, Mur Marga. "La Política de l'actriu en l'obra d'Anna Magnani." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/401858.
Анотація:
Tradicionalment considerat com un intèrpret d’obres alienes o com un instrument a mans del director, l’actor no ha estat contemplat en la historiografia del cinema ni en els discursos essencials que articulen la teoria fílmica. Aquesta tesi aborda el conjunt d’interpretacions de l’actriu italiana Anna Magnani (1908-1973) des de la següent pregunta: Pot l’obra d’una actriu reflectir un univers estilístic propi? –i si n´és el cas- En quina mesura aquesta pot testimoniar les principals inquietuds i mutacions estètiques del cinema del seu temps? L’estudi es centra en la majoria de les interpretacions que Magnani va realitzar entre les dècades dels 40 i dels 60 del segle XX, i en l’adhesió d’aquestes a les principals corrents històriques del neorealisme italià, la modernitat europea i el post-classicisme nord-americà, així dels seus principals autors. Prenent la perspectiva teòrica dels star studies i l’anàlisi de la performance com a metodologia, la tesi treballa sobre una hipòtesi precisa: la capacitat de l’obra d’Anna Magnani per testimoniar, dialogar i participar de les qüestions essencials que conformen l’estètica cinematogràfica del seu temps sota el segell d’una autoria o d’una política d’actriu.
22
Walker, Caitlin J. "The Art of the Silent Story." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/353.
Анотація:
I created a one minute 2D, hand-drawn, frame-by-frame animation with an original music score utilizing Toon Boom to demonstrate my ability to convey an interesting story without the use of any dialogue.I relied instead on pantomime, expressions, and context clues to communicate the story to the viewer.
23
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Анотація:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
24
Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.
Анотація:
Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
25
Caldwell, Toebey T. "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/588.
Анотація:
ABSTRACT
My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. This media production was designed to demonstrate my experience and knowledge I gained through this degree, by specific areas of developing and producing media, including script writing, filming and editing media content, to construct an original web series from Pre-Production to Post-Production.
SNAPtv is a hybrid, sketch comedy, talk show produced as an online web series that mimics the characteristics of a semi-scripted Reality-Television series and combines the elements of a talk show with short comedy scenes used as segues for entertainment.
This original web series SNAPtv, features the lives of four students who move into a co-ed dormitory at Cal State University, San Bernardino (CSUSB). As freshmen students, they embark on a new but similar journey to achieve their academic endeavors while experiencing diversity, social and racial inequalities and situations relevant to those of college students. These issues included, the cost of an education, pressures of studying, time management and adjusting to college life.
This web series will launch from within the CSUSB’s own media channel to produce the first pilot webisode for SNAPtv, titled “MOVING IN”. This project will provide a sample production packet in the form of a manuscript for the development of this web series.
This project will include a completed sample production packet containing the documents necessary to create SNAPtv’s pilot webisode, including essential procedures and functions of The Production Process for developing and producing media.
SNAPtv will demonstrate my current knowledge and understanding of producing media for the Entertainment Industry while outlining my production process for creating SNAPtv
26
Balso, André. "Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC008/document.
Анотація:
Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiquesRobert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema
27
Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.
28
Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.
Анотація:
Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it.
Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacans theory of the four discourses, and focusing primarily on the oppositions of the Masters and the Analysts discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre.
Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the norm that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.
29
Blose, Chris. "Ideas in action : film theory in film criticism /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421115.
30
Becerra, Martin. "Not Dead At All." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2370.
Анотація:
Not Dead At All is a nontraditional thesis, a creative product, the result of a combination of media production and social research. This paper is an attempt to explain the creative and production process behind the creation of an original media content, using the social research as a tool to increase the likeability of our characters and therefore increase the show’s chances of success.
31
Sandeau, Jules. "The Unsinkable Kate : l'évolution de la persona de Katharine Hepburn et sa réception aux Etats-Unis." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30048.
Анотація:
Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa personaAcknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona
32
Gordon, Derek, and David Rogoff. "Action Jacksons." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/72.
33
Lynn, Emma. "Fan Remake Films: Active Engagement With Popular Texts." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615121429167803.
34
Meakin, Douglas Boyd. "Active devices in polycrystalline silicon." Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240344.
35
Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.
Анотація:
The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.
36
Marty, Stéphanie. "Communication et processus décisionnel : le choix du film des jeunes publics au cinéma." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20045/document.
Анотація:
Le cinéma est, depuis sa création, au centre des débats qui animent les sociétés. Il attise la curiosité et l’intérêt d’une multitude d’individus : des publics, des critiques, des acteurs économiques, des professionnels, des chercheurs… Ces derniers s’intéressent aux publics, à leurs pratiques, et y consacrent de nombreux travaux. Pourtant, malgré le volume foisonnant de publications, une question reste entière : comment les publics choisissent-ils leur film au cinéma ? L’approche des publics reste parcellaire et le choix du film reste inexploré, alors qu’il préoccupe un ensemble d’acteurs, qui multiplient les initiatives pour intervenir dans ce choix, l’équiper ou l’orienter. La présente recherche entend remédier à ce paradoxe, en cherchant à mettre au jour les logiques sous-jacentes du processus de choix du film mené par les jeunes publics au cinéma. Ancrée dans une démarche exploratoire et compréhensive, elle envisage ce choix dans une perspective communicationnelle, qui prend en compte sa complexité et l’étudie de manière globale et transversale. Nous appréhendons le choix en train de se faire, au cinéma ; cette perspective permet de porter un regard distancié sur les théories dominantes mobilisées sur le cinéma et sur la décision, notamment en Sciences de l'Information et de la Communication. Elle nous permet de comprendre combien le choix du film des publics est une action située, qui dépend du contexte et des circonstances du moment. En outre, en articulant le théorique et l’empirique, et en donnant la part belle à une triangulation de données, notre démarche délivre des clefs pour comprendre les processus de choix en particulier, et les processus décisionnels en généralSince its creation, cinema is at the heart of discussions within societies. It arouses curiosity and attracts interest from many: publics, critics, professionals, main economic actors, researchers… While these latter have contributed to a huge amount of works based on cinema’s audiences and practices, only one question remains: How cinema audiences make their film selection? Although many actors and initiatives are developed to help, support, advice and orient the audiences, the approach and the decision-making process of a movie remain misunderstood and unexplored. This research aims to remedy to this contradiction, by highlighting the underlying motivations present in the decision-making process of the young cinema audience. Anchored in a both exploratory and comprehensive process-based approach, this research conceives this process in a communicational perspective by taking in account its complexity, and by analyzing it globally and transversally. We study the “on-going decision-making process” – the decision “as practice” - made inside the cinema. This perspective allows having a look distant from the dominants theories. Furthermore, by articulating theoretical and empirical points of view, and by giving special attention to the triangulation of data, our approach delivers keys to rightfully understand the decision-making process in general and in particular
37
Gan, Feng Yuan 1967. "Thin film transistors with chemically deposited active channels." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38192.
Анотація:
Using CdSe and CdS thin films as an active layer prepared by chemical bath deposition method (CBD), thin film transistors (TFT) have been fabricated and studied. There are two fabrication processes developed in this work for TFTs dependent on the substrates used. A procedure for the fabrication of TFTs on Si substrates and a procedure for devices on glass substrates will be presented. Both procedures are designed for the fabrication of TFTs with an inverted gate-staggered electrode configuration. The chemical bath deposition process developed has yielded CdSe-TFTs and CdS-TFTs on thermally grown oxide/Si substrate with very good performance. Typical values of mobility for those TFTs are about 10 cm2/V-s for CdSe-TFTs and 1 Cm 2/V-s for CdS-TFTs with W = 200 mum and L = 20 mum. The ON-current values of the CdSe-TFTs and CdS-TFTs at a gate bias of 10 V and a source-drain voltage of 10 V are about 100 muA and 5 muA, respectively. The OFF-current values of the CdSe-TFTs and CdS-TFTs at the source-drain voltage of 10 V are less than 10 pA.The incorporation of the thermal oxidation process for the fabrication of TFTs described in the first procedure is useful for studying the properties and deposition of active semiconductor layers. However, it may not be suitable for large-scale production due to the high temperatures involved and the thermal requirements of the substrate. To reduce the process temperatures and the requirements for substrates, it is necessary to employ methods other than thermal oxidation for gate oxides. In this work, in addition to thermal oxidation, the anodization method will be used to form gate oxides for the second fabrication procedure on glass substrate. In addition, some samples were prepared with thin gate dielectric films by magnetron-sputtering method. The effects of anodization conditions on the quality of the anodic dielectric were investigated by measuring the breakdown electric field and leakage current density of the metal-insulator-metal (MIM) capacitors fabricated.
Results of electrical measurements carried out on the CdSe-TFTs with A12O3 and Ta2O5 gate dielectrics showed field effect mobilities of 3.4 and 0.67 cm2/V-s and threshold voltages of 3.2 V and 8.2 V, respectively. Field effect mobilities of 0.2 and 2 cm2/V-s and threshold voltages of 4.3 and 5.2 V were observed for CdS-TFTs, again with Al2O3 and Ta 2O5 gate dielectrics. (Abstract shortened by UMI.)
38
Campos, Natália di Loreto. "Produção e caracterização de filmes biodegradáveis ativos de amido de semente de jaca." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/74/74133/tde-07122017-152954/.
Анотація:
O uso indiscriminado dos plásticos tem gerado graves problemas ambientais de acúmulo de material na natureza, poluição das águas, além de ser proveniente do petróleo, um recurso não renovável. Isso tem causado preocupação e, portanto, os cientistas e indústrias vêm buscando alternativas ao uso desses materiais, como por exemplo o emprego de materiais naturais e/ou biodegradáveis e o aproveitamento de subprodutos desperdiçados. O amido é um polímero natural que tem aspectos que o tornam promissor, como sua biodegradabilidade, baixo custo e disponibilidade. Para prolongar a vida útil dos alimentos, investigou-se o amido como matéria prima para a produção de filmes biodegradáveis e revestimentos comestíveis ativos. Além de atuar como barreira a gases e como proteção mecânica, as embalagens também podem carrear substâncias ativas como antioxidantes, antimicrobianos, entre outros. Foi estudado o efeito da incorporação de (0,3; 0,5 e 1,0) g de α-tocoferol/100 g de dispersão filmogênica nas propriedades morfológicas, mecânicas, ópticas, de superfície, de barreira ao vapor d\'água e à luz UV/Visível e antioxidantes dos filmes de amido de semente de jaca. A adição de α-tocoferol aumentou a resistência à tração e o módulo de elasticidade nos filmes com até 0,5% de α-tocoferol. Também aumentou a barreira ao vapor d\'água, possivelmente devido à natureza hidrofóbica do α-tocoferol e ao efeito de tortuosidade causado por ele na matriz polimérica, embora a solubilidade em água não tenha diferido significativamente entre os filmes. O α-tocoferol proporcionou aumento na barreira contra a luz UV, especialmente nos comprimentos de onda entre (200 e 310) nm. A opacidade e o parâmetro de cor b* aumentaram significativamente, o que significa que a incorporação de α-tocoferol tornou os filmes mais opacos e amarelados. A hidrofobicidade da superfície aumentou significativamente (p < 0,05) com adição de α-tocoferol, principalmente no filme com 0,5% de α-tocoferol. A capacidade antioxidante aumentou significativamente com adição de até 0,5% de α-tocoferol. O filme controle (sem α-tocoferol) não apresentou capacidade antioxidante. Concluiu-se que o material de amido de semente de jaca incorporado de α-tocoferol tem potencial para ser usado como revestimento ativo para alimentos com alto teor de gordura. Entre as formulações produzidas, a de 0,5% de α-tocoferol foi a melhor, porque apresentou atividade antioxidante tão boa quanto o filme 1,0% de α-tocoferol e propriedades mais interessantes, como a microestrutural, mecânica, óptica e de superfície.Indiscriminate use of plastics has been generating environmental problems, like accumulation of materials, water pollution, as well as depleting a non-renewable resource (crude oil). This has been causing concern, therefore scientists and industries are seeking alternatives for these materials, for example, the employment of natural and/or biodegradable materials and the reuse of wasted byproducts. Starch is a natural polymer with many promising aspects, like its biodegradability, low cost and availability. Aiming at prolonging shelf-life of food products, starch has been investigated as a feedstock for development of edible active films and coatings. Besides acting as a barrier against gases and as mechanical protection, packages also may carry active substances (antioxidants, antimicrobials, etc.). The effects of the incorporation of (0.3; 0.5 and 1.0) g α-tocopherol/100 g filmogenic dispersion on the morphological, mechanical, optical, surface, water vapor permeability, barrier to UV/Visible light and antioxidant properties of jackfruit seed starch films were studied. Addition of α-tocopherol increased the tensile strength and the elastic modulus up to 0.5%. It also increased the water vapor barrier, possibly due to α-tocopherol\'s hydrophobic nature and because it caused a tortuosity effect in the polymer matrix, although the film solubility was not significantly affected. α-tocopherol improved the UV light barrier, especially in the wavelengths between (200 and 310) nm. The opacity and the color parameter b* increased significantly, which means that films with α-tocopherol became more opaque and yellowish. Surface hydrophobicity increased with the incorporation of α-tocopherol, especially for the 0.5% α-tocopherol film. The antioxidant activity increased significantly up to 0.5% α-tocopherol. The film without α-tocopherol presented no antioxidant capacity. Therefore, jackfruit seed starch films incorporated with α-tocopherol have potential to be used as edible active coatings for high fat content foods. Between the formulations produced, the one with 0.5% of α-tocopherol was the best, because it presented an antioxidant activity similar to the film with 1.0% of α-tocopherol and superior characteristics, like microstructural, mechanical, optical and surface properties.
39
Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.
40
Cheng, Nancy Shui-Yen. "Getriebene Melancholiker Helden - Körper - Action in Hollywood." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2005. http://d-nb.info/990745465/04.
41
Ma, Fuyuan. "Electrochemically active organic thin films." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44501.pdf.
42
Hedman, Anna Elisa. "Morphology of the Action Babe Cinema : En strukturell studie av 2000-talets filmer med kvinnliga actionhjältinnor." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7030.
Анотація:
The subject of my thesis is what I have chosen to call the “action babe cinema” of the 21st century, essentially action-movies featuring a female heroine in the lead role. Inspired by the theories of Vladímir Propp, author of Morphology of the Folktale, I have tried to reveal the underlying structure of these films. I have chosen eleven films which form my material, and from these extracted a number of functions (which means the actions of a character), that reoccur frequently. The heroines’ transformation can be seen as a central theme of the action babe cinema, and I have divided the films into two groups depending on the course of the transformation, either from soft to hard or the other way around. One of my findings is how there seems to be a constant need to explain the hard and tough characteristics of the female action-heroine, implying that it isn’t a natural trait for a woman. The functions have been further visualised and exemplified throughout the text, and I have found that the functions tend to be repeated in a similar pattern depending on which group they belong to. I also use the functions in an extended analysis of Kill Bill vol. 1 and Kill Bill vol. 2. The application of Propp is discussed and I present my point of view on the subject. Finally I discuss the results of my study, and what binds these films together and set them apart.
43
Iahnke, Aline Oliveira e. Silva. "Filmes biodegradáveis com propriedades funcionais produzidos a partir de resíduos industriais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/129775.
Анотація:
Filmes e coberturas comestíveis têm recebido cada vez mais atenção e interesse por parte de indústrias e pesquisadores pois eles representam uma alternativa para substituir plásticos comumente utilizados para embalagens em indústrias alimentícias. Nesse contexto, filmes biodegradáveis foram produzidos a partir de resíduos da fabricação de cápsulas nutracêuticas compostas por gelatina, glicerina e água e combinados com farinhas de resíduos da indústria de minimamente processados de cenoura e beterraba. Todos os filmes elaborados foram caracterizados quanto às propriedades físico-químicas, mecânicas, de barreira, ópticas e antioxidantes. Dentre os filmes desenvolvidos, os que apresentaram essas características aprimoradas e com maior funcionalidade, foram selecionados para serem estudados quanto a sua estrutura, estabilidade térmica e proteção contra oxidação primária em óleo de girassol embalado pelos filmes. Em geral, a adição de farinhas aos filmes gelatinosos ocasionou: redução de umidade, solubilidade em água, swelling, permeabilidade ao vapor de água e elongação; aumento de opacidade, porcentagem de inibição do radical DPPH; maior proteção aos efeitos da luz e da oxidação primária de óleo de girassol; e estrutura menos lisa e homogênea quando comparado aos filmes sem adição de farinhas. Além disso, os filmes estudados apresentaram estabilidade térmica até aproximadamente 200 °C. Com isso, foi possível desenvolver filmes biodegradáveis com propriedades funcionais a partir de resíduos industriais e colaborar com o desenvolvimento de tecnologias sustentáveis.Edible films and coatings have gained increasing attention and interest from the industry and researchers, as they represent an alternative to replace commonly used plastics for packaging in the food industry. In this context, biodegradable films were produced from the residues from the manufacture of nutraceutical capsules, mainly composed of gelatin, glycerin and water, and combined with different residue flour derived from the minimal processing of carrot and beet root. All the prepared films were characterized regarding their physicochemical, mechanical, barrier, optical and antioxidant properties. The films which presented improved characteristics and greater functionality were selected to be studied regarding their structure, thermal stability and protection against primary oxidation of sunflower oil packed in the films. In general, the addition of the flour into the gelatin-based films caused: reduction in the moisture content, water solubility, swelling, water vapor permeability and elongation at break; increase in the opacity and percentage inhibition of DPPH radical; greater protection against the effects of light and primary oxidation of sunflower oil; and less smooth and homogeneous structure when compared to films without addition of flours. Furthermore, the studied films showed thermal stability up to approximately 200 ° C. Thus, it was possible to develop biodegradable films with functional properties from industrial residues and contribute to the development of sustainable technologies.
44
Gallagher, Mark. "Action figures : spectacular masculinity in the contemporary action film and the contemporary American novel /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978590.
Анотація:
Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 320-335). Includes filmography (leaves 335-337). Also available for download via the World Wide Web; free to University of Oregon users.
45
Cheng, Nancy Shui-Yen. "Getriebene Melancholiker : Helden - Körper - Action in Hollywood /." Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang, 2008. http://d-nb.info/990745465/04.
46
Henry, John B. "Characterisation and screening of novel aromatic thin-film materials." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3782.
Анотація:
The electropolymerisation of a range of indole derivatives results in the formation of redox active films. These redox films have been observed to be highly luminescent. Earlier studies have investigated electrochemical and photophysical properties, for potential applications such as fast response potentiometric sensors or novel materials for light emitting devices. The work in this thesis extends this approach to electrochemical and computational studies of a range of novel redox-active aromatic systems. This work has exploited the continuing increase of computing power, employing powerful quantum computational models to complement and augment electrochemical methods. Density Functional Theory has been used to show that prediction of oxidation potentials in good agreement with experimental values is achievable for a wide range of aromatic systems. Calculation of the electron spin density of the radical cations has also helped to elucidate the likely coupling locations for the formation of electroactive layers. It is observed that the nature of substituents and additional hetero groups to the aromatic systems can have a profound effect on electron spin density distributions. The redox-active species formed from indole dimers and 5-methylindolocarbazole have also been characterised. The species formed from electropolymerisation of 5- methylindolocarbazole has been found to be a mixture of three isomers of a 5- methylindolocarbazole dimer. Full characterisation of the product of the electropolymerisation of indole dimers was not possible; fluorescence work however suggests this to be a species with a greater degree of conjugation than either indole dimers or trimers. It is thought likely that this product is either a tetramer or longer chain polymer. This work demonstrates the applicability of a combination of computational and electrochemical methods to the characterisation of novel heteroaromatic systems.
47
Mdege, Norita. "Heroines, victims and survivors: female minors as active agents in films about African colonial and postcolonial conflicts." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/27845.
Анотація:
This thesis analyses the representations of girls as active agents in fictional films about African colonial and postcolonial conflicts. Representations of these girls are located within local and global contexts, and viewed through an intersectional lens that sees girls as trebly marginalised as "female," "child soldiers" and "African." A cultural approach that combines textual and contextual analyses is used to draw links between the case study films and the societies within which they are produced and consumed. The thesis notes the shift that occurs between the representations of girls in anti-colonial struggles and postcolonial wars as a demonstration of ideological underpinnings that link these representations to their socio-political contexts. For films about African anti-colonial conflicts, the author looks at Sarafina! (Darrell Roodt, 1992) and Flame (Ingrid Sinclair, 1996). Representations in the optimistic Sarafina! are used to mark a trajectory that leads to the representations in Flame, which is characterised by postcolonial disillusionment. On the other hand, Heart of Fire/Feuerherz (Luigi Falorni, 2008) and War Witch/Rebelle (Kim Nguyen, 2012), which are produced within the context of postcolonial wars, demonstrate the influences of global politics on the representations of the African girl and the wars she is caught up in. The thesis finds that films about anti-colonial wars are largely presented from an African perspective, although that perspective is at times male and more symbolic than an exploration of girls' multiple voices and subject positions. In these films, girls who participate in the conflicts are often represented as brave and heroic, a powerful indication of the moral strength of the African nationalists' cause. On the contrary, films about African postcolonial wars largely represent girls as innocent and sometimes helpless victims of these "unjust wars." The representations in the four case study films are significant in bringing to the fore some of the experiences of girls in African political conflicts. However, they also indicate that sometimes representations of girls become signifiers of ideas relating to local and global socio-political, economic, and other interests rather than a means for expressing the voices of the girls that these films purport to represent.
48
Malape, Maibi Aaron. "Low temperature growth of Amorphous Silicon thin film." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7768_1254727160.
Анотація:
The growth of amorphous hydrogenated silicon (a-Si:H) thin films deposided by hot wire chemical vapor deposition (HWCVD) has been studied. The films have been characterised for optical and structural properties by means of UV/VIS,FITR,ERDA, XRD.XTEM and Raman spectroscopy. Low subtrate heater temperatures in the range form 130 to 200 degrees celcius were used in this thesis because it is believed to allow for the deposition of device quality a-Si:H which can be used for electronic photovoltaic devices. Furthermore, low temperatures allows the deposition of a-Si:H on any subtrate and thus offers the possibility of making large area devices on flexible organic substances. We showed that the optical and structural properties of grown a-Si:H films depended critically upon whether the films were produced with silane gas or silane diluted with hydrogen gas. We also showed that it is possible to to deposit crystalline materials at low temperature under high hydrogen dilution ratio of silane gas.
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Johansson, Daniel. "VO2 films as active infrared shutters." Thesis, Linköpings universitet, Institutionen för fysik, kemi och biologi, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6458.
Анотація:
An active optical shutter for infrared light (3-5 μm) has been designed, exploiting the phase transition in thermochromic vanadium dioxide (VO2). A spin coating processing route for VO2 films has been adapted to manufacture reproducible depositions onto sapphire (Al2O3) substrates. The VO2 films have been characterized by X-ray powder diffraction (XRPD) and infrared spectroscopy (FTIR), showing 55 % transmittance in the open mode and 0.1 % in the closed mode. The VO2 film temperature determines the operating mode of the shutter, and a resistive circuit of gold was deposited on top of the film for heating purposes. Switching times from the open to the closed mode down to 15 ms have been measured. This work is a part of a comprehensive project at the Swedish Defence Research Agency (FOI), aiming to improve active components for protection against lasers. The shutter within this work is at this stage an early prototype, and needs further development and complementary systems such as a control unit to be implemented in an optical system.
50
Farrugia, Thomas. "Biocatalytically active protein-polymer bioconjugate films." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730866.