Дисертації з теми "Horror films – study and teaching"

In this project an educational DVD about the life and writing styles of John Steinbeck was developed for use in high school freshman classrooms at Yucaipa High School. Additional activities to stimulate students' writing and composition in the style of Steinbeck were created to match educational theory and state standards.

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.

MA by Coursework and Research Report Wits School of Arts - Film & Television 2019
This thesis is a study of post-socialist Chinese horror cinema – namely, horror films of the period from the film industry reform in 2003 to the present – and centres around the question of how Chinese horror filmmakers are responding to the new policies and regulations and achieve their financial success by fulfilling audiences’ expectations from the perspective of cultural traditions. It contributes to an overview of the Chinese film industry and the production value chain of horror films that is rarely accessible to the English-speaking world, thus it is also intended as a practical guide for producers and potential investors interested in entering the contemporary Chinese horror film market. This thesis argues for the essential role of government regulation and the cultural context of China in shaping the generic attributes of Chinese horror film in both post-socialist China and post-socialist cinema.
NG (2020)

碩士
大葉大學
休閒事業管理學系碩士班
97
As the advance of two-day weekend, the rise of filmdom has every kind of movie type showed in ciname and home. However, the horror films’ story will bring the physi-ological and psychological different behavior with the viewer. The sample number is 320 and the actually recipient number is 306 which accounts for 97%. The consequence of the research is indicated as follows 1. The horror film viewer’s behavior was not affected by different background—age, gender, education levels, occupation, incomes. 2. Conscientiousness revealed significant correlation in horror film viewer’s behavior. 3. Open live, leisure relieve, Compensation movie affected the horror film viewer’s be-havior. 4. Attraction, self expression and centrality of lifestyle affected the horror film viewer’s behavior. 5. The generator of viewer’s view behavior can attributed to the open live, Centrality, Self-expression and conscientiousness. At the end of the research, the conclusion and recommendations was given in or-der to provide further investigation and research for other researchers in the related fields.

Hammer Film Production’s brand of melodramatic Gothic Horror reinvented horror cinema in 1957. Despite bringing tremendous financial success throughout the 1950s and 1960s, Hammer’s Gothic had run its course by the early 1970s and cinematic production ceased altogether by 1975. After establishing multiple iterations of a markedly recognizable house style, it is generally agreed that Hammer failed to adapt to the demands of a changing marketplace. This thesis investigates the circumstances surrounding Hammer’s demise by conducting neoformal analysis of case study films and examining how they were affected by cultural, historical, and industrial factors. Looking to Hammer’s films themselves helps determine to what extent they were responsible for Hammer’s misfortune and why. This thesis demonstrates how Hammer’s own production setup and early genre success contributed to the studio’s eventual downfall and the outside factors that underscored this process. I argue that Hammer did experiment with house formula but the studio’s attempts to renegotiate the 1970s horror landscape were unsuccessful because of changing audience demographics, an industry in transition, and Hammer’s own perceived corporate identity.
text

碩士
國立臺北教育大學
教育傳播與科技研究所
96
Horror film is one of the major movie types and its target audiences are focused on adolescents. Horror film no matter is Western or Asian, is highly related to youth subculture or social phenomena. It manifests the dramatic effects by showing bloodiness, pornography, violence and heroism. However, due to the mindsets of adolescents are still at developmental stage, the distorted, twisted scenarios of horror film and might influence them in negative ways, such as biased gender recognition. Thus, the study aims to investigate 539 adolescents ranged from 12 to 24 years old in Taipei area by to understand their viewing habits and gender-role attitude about the horror films. Research first uses quantitative questionnaire to collect data, after initial statistics result, then in-depth interview of 10 adolescents is conducted to further explore their horror preference and psychological reaction, as well as their sex-gender attitude while watching horror film. The results indicate that watching horror film is one of the main entertainments for adolescents. The trailers and the plots are the main incentives for choosing horror film. As for the psychological mechanism, the sensational excitement and accompanied fear factors offers the greatest fun for adolescents in watching horror film. With regard to the effects of gender-role attitudes, most respondents reveal that the negative impact are imposed on other people not themselves. It is also indicated that the higher frequencies in watching horror film, the higher level of involvement is shown and it is more possible to cause the stereotypes of female roles. Besides, it is also showed that females are more likely to have the stereotypes of sex roles and show frightened reactions than males in watching horror film. People who receive higher education are more likely not to be influenced by the sex images constructed by horror film. Researcher suggests that adolescents should enhance their basic knowledge and the critical viewing skills in watching films. Schools and related educational agencies should set up the related courses about media literacy. Parents should put more emphasis on parent-child sharing film watching activities and have more discussions with their children afterwards. At last, the stakeholders in mass film industry should take social responsibilities by making high-quality, education-embedded film, and pay more attention on self-regulation.

碩士
國立臺東大學
語文教育研究所
99
Language teaching is one part of the emphasis of the education. It holds the most teaching sessions of all domains. There are a lot of expectations to language teaching written in the Grade 1-9 Curriculum Guidelines promulgated by the Ministry of Education. Beside the ordinary teaching items, we may have good effect if we add other stimulants and elements in teaching. Films are one kind of multimedia which is usually used by teachers. Many teachers broadcast films regularly to provide physical and mental relaxation and attract students

碩士
國立臺北教育大學
兒童英語教育學系碩士班
103
The purpose of this case study was to investigate whether integrating POKO English animation instruction into elementary school curriculum can help enhance students’ English vocabulary learning and emotional management. This research was conducted by an elementary homeroom teacher in New Taipei City. There were 27 fourth-graders who participated in this study for 8 weeks, and three 40 minutes sessions per week. Both qualitative and quantitative data were collected. The qualitative data included activity worksheets and teacher’s observation notes. Quantitative data included pre- and post- English vocabulary tests, a scale of emotional management abilities, and students’ feedback questionnaire about English animation instruction. The results revealed that English animation instruction significantly promoted students’ vocabulary learning, especially on the aspects of the correspondence between sound-and-meaning and meaning-and-form. Meanwhile, English animation instruction significantly promoted students’ emotional management abilities in terms of knowledge, attitude, and skills. Moreover, students’ feedback questionnaire and the qualitative data showed that students had great interest and positive attitude toward English animation instruction. Finally, some suggestions based on the results of this study were provided for those who are interested in English animation instruction and for further studies.

This study investigated the effect of instructional videos and real-life activities on the mathematical achievement and attitude of developmental students. The study also investigated the attitude of developmental students towards learning mathematics through instructional videos and real-life activities. The study was conducted at an urban community college with transitional mathematics classes. The four mathematics classes in the study received various combinations of real-life activities, instructional videos, and traditional teaching while studying basic concepts such as decimal place value, percentages, and fractions. Pre-and post-tests were conducted to measure student achievement. Attitude scales, surveys, and interviews were used to measure attitude changes. Results showed that, overall, the mathematics achievement of the classes receiving consistent exposure to videos and real-life activities was greater than classes receiving only some of the special instructional treatments. Students interviewed believed that instructional videos and real-life activities improved their understanding of the mathematical concepts involved in the study.

Tsang, Chung-yan.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Filmography: p. 182-183.
Includes bibliographical references (leaves 184-189).
Abstracts in English and Chinese ; appendix also in Chinese.
ABSTRACT --- p.2
論文摘要 --- p.3
ACKNOWLEDGEMENTS --- p.4
CONTENTS --- p.6
Chapter Chapter 1 --- Introduction
Chapter 1.1 --- Empirical Puzzles and Theoretical Concerns --- p.10
Chapter 1.2 --- Overview of The Thesis --- p.17
Chapter 1.3 --- Literature Review --- p.17
Chapter 1.3.1 --- Understanding the Image Construction of the Minorities through Films
Chapter 1.3.2 --- How the Images of the Blacks Get Represented - Blacks' Imagesin Films
Chapter 1.3.3 --- How Women Get Represented under the Male Gaze 一 Gender Representations in Films
Chapter 1.3.4 --- Childhood ´ؤ A Socially Constructed Concept
Chapter 1.3.5 --- How the Child Images are Constructed? - Literature Related to the Construction of Child Images
Chapter 1.4 --- Theoretical Framework - Foucauldian Concepts in Understanding Child Images --- p.33
Chapter 1.4.1 --- Double Marginalization - Children as Victims
Chapter 1.4.2 --- Disciplinary Power over Children - Children as Moral Agents
Chapter 1.4.3 --- The Multiple Network of Power - Children as Anonymous Objects
Chapter 1.4.4 --- Care of the Children - Children as Protagonists
Chapter CHAPTER 2 --- Methodological Design and An Overview of the Hong Kong Film Industry
Chapter 2.1 --- Casing the Films ´ؤ Introduction to Methodological Design --- p.44
Chapter 2.1.1 --- Content Analysis
Chapter 2.1.2 --- Ideological Approach
Chapter 2.2 --- The Development of the Hong Kong Film Industry and Its Relatedness with the Changes of the Child Images --- p.51
Chapter 2.2.1 --- Formative and Developing 50s Film Industry - Time for Exploration
Chapter 2.2.2 --- The Golden Year of the 60s Film Industry - Time for Early Harvest
Chapter 2.2.3 --- Discontinuity of the Prosperity of the Film Industry in the 70s - Time for Reconstruction
Chapter 2.2.4 --- Golden Years in Both 80s to 90s - Time For Innovation and Globalization
Chapter CHAPTER 3 --- Double Marginalization - Children as Victims
Chapter 3.1 --- Subordinating to the Adults ´ؤ Child Images as Sufferers in the Social Margin --- p.59
Chapter 3.1.1 --- Great Devotion (1961) - Children in Extreme Poverty
Chapter 3.1.2 --- Father is Back (1962) -Two Siblings Struggled for Survival without Parental Care
Chapter 3.1.3 --- A Lily in the Storm (1962) ´ؤ A Boy Who was Mistreated by His Stepmother
Chapter 3.2 --- Acceptance for Children as a Separate Entity? ´ؤ An analysis of the Child Images in the Subordinating Context in Films --- p.66
Chapter 3.3 --- Absence of Child Images in the 70s - A Turn of the Child Images --- p.74
Chapter 3.4 --- Concluding Remarks --- p.78
Chapter CHAPTER 4 --- Disciplinary Power over Children - Children as Moral Agents
Chapter 4.1 --- Sacrifice and Respect - The Typical Child Images in the1960s Melodramas --- p.81
Chapter 4.1.1 --- Filial Piety (1960) - Children Sacrificing Themselves for the Family
Chapter 4.1.2 --- Filial Piety that Moves Heaven (1960) 一 Children Saved Their Parents through Adventurous Experience
Chapter 4.1.3 --- The Seven Kids (1961) - Appropriate Training for the Children to Become Independent
Chapter 4.1.4 --- Little Artists (1962) - Showing Respect and Gratitude to the Teacher
Chapter 4.2 --- Child Images as Moral Agents under the Influence of the Disciplinary Power --- p.87
Chapter 4.3 --- "The Recurrence in the 1980s and Unapparent ""Moral Occult"" in the 90´ةs" --- p.94
Chapter 4.3.1 --- Daughter and Father (1981) - Repaying the Indebtedness to the Adoptive Father
Chapter 4.4 --- Social Context for the Rise of the Child Image as Moral Agents --- p.98
Chapter CHAPTER 5 --- Victimization and Objectification - Children as Anonymous Objects
Chapter 5.1 --- "Defining Objectification - Children were Objects Portrayed as ""Something""" --- p.101
Chapter 5.1.1 --- Goodbye Mammie (1986) - How Orphans Led Their Life in the Orphanage
Chapter 5.1.2 --- All about Ah Long (1989) - An Dilemma for Children who were Placed between Parents
Chapter 5.1.3 --- The Story of my Son (1990) 一 To Show the Extreme Suffering of the Children
Chapter 5.1.4 --- The Son on the Run (1991) - A Child was Born without Father or Mother
Chapter 5.2 --- Objectification of Child Images 一 Hidden Power over the Fate of Children --- p.114
Chapter 5.3 --- Concluding Remarks --- p.122
Chapter CHAPTER 6 --- Weapons of the Weak - Children as Protagonists
Chapter 6.1 --- Introduction to the Films Selected --- p.124
Chapter 6.1.1 --- Siu Chong Yuen (1961 - The Child who Judged the Critical Moment
Chapter 6.1.2 --- "Little Detective (1963) - Adult Mind, Child Body"
Chapter 6.1.3 --- "Daddy, Father, Papa (1991) - The Hong Kong Version of Home Alone"
Chapter 6.2 --- How Children Empower Themselves? --- p.135
Chapter 6.2.1 --- Sporadic Show Time for Children
Chapter 6.3 --- "Room for Having Dialogue, Resistance and Subversion ´ؤ How Children were Portrayed as Protagonists" --- p.140
Chapter 6.3.1 --- A Protagonist - Direct Dialogue and Resistance to Redefine the Boundary
Chapter 6.4 --- Concluding Remarks - Complex Relational Network of Power --- p.144
Chapter CHAPTER 7 --- Conclusion
Chapter 7.1 --- Four Categories - How Children were Getting Represented in the Hong Kong Films --- p.147
Chapter 7.1.1 --- Children as Victims
Chapter 7.1.2 --- Children as Moral Agents
Chapter 7.1.3 --- Children as Anonymous Objects
Chapter 7.1.4 --- Children as Protagonists
Chapter 7.2 --- What is More? --- p.151
Chapter 7.2.1 --- A Possible Supplement for the Foucauldian Framework
Chapter 7.2.2 --- Theorizing the Construction of Child Images ´ؤ A Reconsideration of the Hong Kong Cultural Studies for Adding in the Age Dimension
Chapter 7.2.3 --- A Call for Reconsideration - The Predicament of the Current Hong Kong Cultural Studies
Chapter 7.2.4 --- The Need for Inserting the Age Dimension in Cultural Studies
APPENDICE --- p.162
FILMOGRAPHY --- p.181
REFERENCES --- p.183

碩士
國立中正大學
教學專業發展數位學習碩士在職專班
99
This study employed the BloomLearningPad of a global warming documentary film titled ia ℃”his study employed the Bloometting and integrate with teacher-self-edited multi-media briefing. Based on the theories of situated learning and master learning, the teaching mode of anchored films integrated with multi-media briefing was developed and aimed to investigate the elementary school pupils’ attitude towards environmental issues, their learning attitude towards environmental education, and teaching effectiveness of such teaching method. The research adopted quasi-experimental design; ten classes of the sixth graders at Yan-Feng Elementary School, Tsaotun, Nantou were recruited and served as the experimental group and control group, with 148 and 157 students respectively. The experimental group was taught with anchored films integrated with multi-media briefing while the control group was treated with traditional film-teaching. The data were analyzed by the Attitude Questionnaire Towards Environment, Learning Attitude Questionnaire Towards Environmental Education and Teaching Effectiveness Test of Environmental Education. The research results indicated the experimental group scored higher than control group and showed significant differences inthe Attitude Questionnaire Towards Environmentand Teaching Effectiveness Test of Environmental Education. It suggested that compared with traditional film-teaching, anchored films integrated with multi-media briefing works better in enhancing students’ positive attitude towards environment and it proved better learning effectiveness. In this research, the designed approaches and teaching strategies of anchored films integrated with multi-media briefing were also thoroughly discussed and analyzed, hoping to serve as reference for future study and making teaching materials with teaching-oriented software.

My identity as a white woman ESL teacher has been structured partly through movies I saw in my youth. More recently in the late 1990s, a film with ESL, The King and I (1956), was on Japanese television two years in a row while I was teaching there. I found that very interesting and began asking questions regarding the influences that popular film may have on real ESL teachers and students. The study questions how films contribute to ESL in terms of teacher and student identities and desires. To explore this question, I collected three forms of data: 24 films with ESL; post-secondary ESL teacher and student responses to watching two films with ESL; and memories of films from my youth. A framework of critical and feminist pedagogy, including work in identity and ESL, and postcolonial, cultural, and feminist studies informed the analysis. I analyzed the data in relation to discourses of desire and the body as a socially constructed site of racial and gender identification. From the film data, I made the case that particular tropes, initiations, and signs construct reel ESL, such as white female teachers as upholders of particular colonial identities. From the teacher and student data, I found that readers engage with cinematic meanings in a space of liminality, that is, not quite in the movie but not quite in themselves. Readers by-pass their race, gender, age, and occupation to access the cinematic body as politically engaged and disrupting the status quo. From the memory data, I argued that through the seemingly innocent practice of watching movies, a world of racialized and gendered desire was settling in and making itself comfortable. The study is positioned in a critical feminist pedagogy of multiliteracies. Here, diverse sites of meaning-making strengthen and disrupt the desires and identities of ESL.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate