Дисертації з теми "Impact of cinema on American society"
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Пазич, Анна Романівна. "Кіно і суспільство - американський кейс другої половини ХХ століття". Bachelor's thesis, КПІ ім. Ігоря Сікорського, 2020. https://ela.kpi.ua/handle/123456789/35901.
Повний текст джерелаCinema as a component of mass culture is organically intertwined with sociological studies of society. Therefore, the study of the impact of cinema on society and their connection provides an opportunity to gain knowledge about social processes, behaviors, values, ideologies. Considering the history of cinema as a part of the social life of the second half of the twentieth century, it becomes clear how cinema and audience interact and communicate; and considering the theories and approaches to the study of the sociology of cinema, it becomes possible to classify the ways in which cinema affects society. Using visual and discourse analysis of the most popular films produced during the Vietnam War in the United States, were identified the roles that cinema plays in society and its functions, was confirmed the influence and connection between film and audience. Thus, cinema opens the access of sociology to the study of society from a different, unique angle, which expands the boundaries of knowledge about society and its processes.
Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.
Повний текст джерелаBarrow, Sarah Elizabeth. "Peruvian cinema, national identity and political violence, 1988-2004." Thesis, University of Sheffield, 2007. http://eprints.lincoln.ac.uk/2584/.
Повний текст джерелаMaria, Cristiane Toledo. "Tradições e rupturas no cinema político de Michael Moore." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09032016-153747/.
Повний текст джерелаThis research aims to analyze the film production of the American filmmaker Michael Moore, proposing as a central question the relationship established between art and politics in a historical moment which, on one side, points to the crisis of capitalism and, on the other side, to the political fragmentation of the working class. Starting from the formal analysis of two of his films, we have established a relationship with the historical moments which gave conditions of production to them, in order to understand the method developed by the filmmaker to deal with the crisis of representation and communication experienced by political art in the last decades. The two films chosen for this analysis are Roger & Me (1989) and Capitalism: a love story (2009). Both films have different diagnoses of the distinct moments of the capitalist crisis, along with the realization of the fact there is a dismantling of the working class, result of a series of economic, political and cultural chances, especially during the second half of the 20th century and early 21st century. This research makes a comparison between the two films, tracing the aesthetic and political continuities and changes in the work of Michael Moore which happened throughout two decades, as well as its relation to the conditions of representation of class struggle in American culture. This work reflects on the rise of the Michael Moore phenomenon as part of a process of construction and deconstruction of a tradition of the American working class.
Saçashima, Edilson Atsuo. "A questão da \'violência\' no Cinema de Stanley Kubrick: análise dos filmes \'Laranja Mecânica\', \'Barry Lindon\' e \'O Iluminado\'." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-03062008-151100/.
Повний текст джерелаThis work investigate three Stanley Kubrick\'s movies: Barry Lyndon, The Shining and A Clockwork Orange. From the incessant flux of images, we\'ll try to detach those that can allow us to discuss the question about violence. In our work, we won\'t be supported in a previous concept of violence. What we\'ll want is to discuss the problem this expression represents. So we believe to be capable of to be apprehend one of the constituent phenomena of modern society.
Trowbridge, Hayley. "From the cinema screen to the smartphone : a study of the impact of media convergence on the distribution sector of American independent cinema 2006-2010." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2010341/.
Повний текст джерелаDavis, Joy L. "An exploration of the impact of family on the achievement of African American gifted learners originating from low -income environments." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539618445.
Повний текст джерелаNishimura, Kristin. "Understanding the Impact of Family Body Criticism on Thin-Ideal Internalization and Eating Attitudes in Asian American Women." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1094.
Повний текст джерелаAn, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.
Повний текст джерелаPeralta, Andrés. "Eating from the Tree of Knowledge: The Impact of Visual Culture on the Perception and Construction of Ethnic, Sexual, and Gender Identity." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33193/.
Повний текст джерелаCalderon, Kristen Naylor. "The impact of cross-cultural transition on intercultural relationships using a strengths-based approach." Scholarly Commons, 2012. https://scholarlycommons.pacific.edu/uop_etds/825.
Повний текст джерелаCantante, Maria Celeste Henriques de Carvalho de Almeida. "Deat poets society : um microcosmo da sociedade americana na década de 1950." Master's thesis, 2006. http://hdl.handle.net/10400.2/533.
Повний текст джерелаResumo - A crescente desumanização das sociedades contemporâneas, onde o conformismo se tem instalado e o fundamentalismo e a intolerância têm vindo a desempenhar um papel cada vez mais relevante, tem-nos feito reflectir e investigar sobre as causas e consequências desta crise. Perante estes factos, pensamos que é urgente despertar perante os perigos do conformismo e retomar “The Song of Myself"1 à semelhança da Beat Generation que recriou e inovou a literatura e as artes plásticas através da introspecção, dos inner eyes of man, na década de 1950, nos Estados Unidos da América. No início deste milénio, apelar a Emerson, Whitman ou Thoreau2 e valorizar o aristocrata natural americano, o homem vulgar que é capaz de realizar coisas geniais, através da simplicidade do seu dia-a-dia, seizing the day, making lives extraordinary3, de forma consciente, é uma necessidade e um desafio. A sociedade reflecte os comportamentos, valores e pensamentos dos seus membros, o pensamento da classe dominante e, de igual modo, os seus conflitos, os movimentos discordantes e de contra-cultura. Por consequência, a literatura, as artes plásticas e o cinema propõem-nos a representação de microcosmos das sociedades a que se reportam e são testemunhos das épocas em que são criados. O cinema constitui um poderoso meio de comunicação de massas e, portanto, um veículo de transmissão de ideologias e de mensagens, razão pela qual decidimos privilegiar a sétima arte nesta dissertação, optando pela obra cinematográfica intitulada Dead Poets Society. Através da análise desta narrativa fílmica, procuramos referenciar as características da sociedade norte-americana dos anos de 1950, completando-a com uma abordagem social e cultural do filme Mona Lisa Smile. Estas duas obras cinematográficas permitem-nos reflectir sobre a essência do pensamento humanista ocidental, tradição da sociedade democrática em que estamos inseridos e na qual nos revemos e evidenciar a necessidade de manter vivo o desejo de ser man thinking
Resumé - Le déclenchement de la société contemporaine, provoqué par la forte déshumanisation, et où le conformisme s’est installé, et le fondamentalisme et l’intolérance jouent de plus en plus un rôle incontestable, nous incite à des introspections et à de longues et minucieuses investigations afin de connaître les causes et les conséquences de cette crise sociale. Nous croyons qu’il est urgent se réveiller face aux dangers éminents du conformisme et reprendre “The Song of Myself1, semblablement à la Beat Generation qui a recréé et innové la litérature et les arts plastiques à travers l’introspection des inner eyes of man, dans les années cinquante aux États Unis de l’Amérique. Au début de ce millénaire, faire appel à Emerson, Whitman ou Thoreau2, et valoriser le pure aristocrate américain – l’homme vulgaire qui est capable de surmonter de différents domaines avec la simplicité du quotidien commun, seizing the day, making lives extraordinary3- c’est nettement un besoin mais aussi un défi imposé. La societé reflète les conduites, les moeurs et les pensées de ses membres, la pensée de la classe dominante et, simultanément, ses propres conflis, les mouvements discordants et de contre-culture. Par conséquent, la littérature, les arts plastiques et le cinéma nous proposent la représentation des microcosmes des sociétés auxquelles se rapportent et ce sont de vrais témoins représentatifs des époques où ils sont créés. Le cinéma est un fort moyen de communication de masses, donc, un véhicule de transformation d’iéologies et de messages, raison pour laquelle nous avons décidé de privilegier le septième art dans cette dissertation, en choisissant l’oeuvre cinématographique intitulée Dead Poets Society. À partir de l’analyse de cette narration cinématographique, nous envisageons faire référence aux caractéristiques de la société nord-américaine des années 1950, en la complétant avec l’analyse du film Mona Lisa Smile. Les deux oeuvres cinématographiques nous conduisent vers une reflexion de la pensée humaniste occidentale et la tradition de la société démocratique, dont nous faisons partie, et où nous nous revoyons. Par ailleurs, nous manifestons le besoin de mantenir vivant le souhait d’être man thinking
Abstract - Contemporary societies where fundamentalism and intolerance are having an important role, are becoming more and more inhuman, which is the main reason why we have been investigating and reflecting upon the causes and consequences of this crisis. As far as we are concerned, it is urgent to wake up and fight against the dangers of conformity and reassume “The Song of Myself"1 followed by the Beat Generation. This movement was able to recreate and reinvent literature and arts through the introspection, the inner eyes of man, during the 1950s, in The United States of America. In the beginning of this millennium, appealing to Emerson, Whitman or Thoreau2 and value the natural American aristocrat, the ordinary man able to make brilliant things in his everyday life, seizing the day, making lives extraordinary3, consciously, it is a need and a challenge. Societies are the mirrors of behaviours, values, ideologies and thoughts of their members. They are also testimonies of the ideals of the establishment as well as the stage of conflicts and counter culture movements. Literature, arts and cinema propose representations of microcosms of societies and evidences of the historical periods they belong to. Cinema is a powerful mass media and, consequently, a way of communication of ideologies and messages and this was why we decided to analyse the film Dead Poets Society. Through this analysis we try to refer the main characteristics of the American society of the 1950s. This study is complemented by a social and cultural approach to Mona Lisa Smile movie. These two films allow us to think about the main principles of the western humanism thought, tradition of the democratic society where we belong and in which we believe and follow and try to give evidence on the need of keeping alive the wish of being man thinking
Coelho, Constança Augusta da Silva. "The Quiet American : um filme, uma leitura da história." Master's thesis, 2006. http://hdl.handle.net/10400.2/539.
Повний текст джерелаResumo - Hoje em dia, o grande público tem um acesso mais imediato à História através dos filmes do que pela via da leitura e do ensino. Com efeito, o cinema converteu-se em arquivo vivo das formas do passado ou, devido à sua função social, num agudo testemunho do seu tempo e em material imprescindível para o historiador. O século passado revelou-se profícuo em conflitos bélicos, um pouco por toda a parte e os Estados Unidos não foram excepção. No espaço de uma só geração, o país participou na Segunda Guerra Mundial, atravessou meia década de crises no cenário político da Guerra Fria, participando na Guerra da Coreia e envolvendo-se no Vietname. Mas, este pequeno país no sudeste asiático impôs uma derrota intolerável, apesar da colossal desproporção de forças, primeiro face ao colonialismo francês e, posteriormente, ao imperialismo norte-americano, na luta pela sua autodeterminação e soberania. Após um silêncio pesado que se fez sentir a partir de 1973, mais precisamente desde a retirada do Vietname, as experiências traumáticas subjacentes a esta guerra surgiram no cenário cinematográfico, no final da década, com o intuito de auxiliar a sociedade americana a fazer a catarse da guerra e a cicatrizar as feridas. Nos anos de 1980, a realização de representações fílmicas sobre este conflito prosseguiu, ajudando a recuperar a confiança do país e dos seus militares, criando as condições que permitissem uma maior aceitação por parte da opinião pública, das intervenções americanas no exterior. Tendo em mente que o cinema é um testemunho da sociedade que o produziu e, portanto, uma fonte documental para a ciência histórica por excelência, esta dissertação pretende fazer uma análise histórica, política e ideológica do envolvimento americano no sudeste asiático, tendo como referente a obra cinematográfica de Phillip Noyce, The Quiet American, baseada na obra homónima de Graham Greene
Résumé - De nos jours, le public a un plus grand accès à l’Histoire à travers les films qu’a travers la lecture et l’enseignement. En effet, le cinéma s’est transformé dans les archives du passé et dû à sa fonction sociale, un témoin de notre temps et un instrument indispensable pour l’historien. Le vingtième siècle a été fécond en conflits et les Etats-Unis n’ont pas été une exception. Une génération entière du pays a participé dans la Seconde Guerre Mondiale, est passée par les crises de la Guerre Froide, a participé dans la Guerre de Corée et du Vietnam. Mais ce dernier petit pays asiatique a imposé, dans sa lutte pour l’autodétermination et souveraineté, malgré le nombre inférieur d’effectifs, une défaite intolérable, d’abord au colonialisme français et ensuite, face à l’impérialisme américain. Après un lourd silence senti à partir de 1973, surtout après la retrait du Vietnam, les expériences traumatiques de cette guerre ont surgi dans le milieu cinématographique à la fin des années 70, ayant pour but aider la société américaine a faire la catharsis de la guerre et cicatriser ses blessures. Dans les années 1980, la réalisation de films sur ce conflit a continue, aidant à récupérer la confiance du pays et de ses militaires, créant ainsi les conditions qui permettaient à l’opinion publique d’accepter les interventions américaines à l’extérieur du pays. Etant donné que le cinéma est un témoin de la société et, donc, une source de documentation pour la science historique, cette dissertation prétend faire une analyse historique, politique et idéologique sur l’engagement américain dans le sud-est asiatique, ayant comme référence l’oeuvre cinématographique de Phillip Noyce, The Quiet American, à partir de l’oeuvre homonyme de Graham Greene
Abstract - Nowadays the public has a more immediate access to History through films than through reading or teaching. As a matter of fact, cinema has become a living archive of the forms of the past or, owing to its social function, an acute testimony of its time and indispensable material to the historian. The last century has revealed prolific in wars all over the world and the United States was not an exception. Within a generation, the country participated in the Second World War, passed through half a decade of crisis in the political scenery of the Cold War, participating in the Korea War and involving itself in the Vietnam. But this small country in Southeast Asia inflicted an unbearable defeat, despite the huge disproportion of forces, firstly facing the French colonialism and later before the North-American imperialism, in the fight for its self-determination and sovereignty. After a heavy silence that was felt since 1973, more precisely since the withdrawal of the Vietnam, the traumatic experiences underlying this war came out in the filmic scenery, in the end of the decade, with the purpose of helping American society to make the catharsis of the war and to heal its wounds. In the 1980s, the production of films about this conflict went on, helping to recover the confidence of the country and of its soldiers, creating the conditions that might allow a greater acceptance by public opinion of American interventions abroad. Bearing in mind that the cinema is a testimony of society that produced it and therefore a documental source for the historical science, this dissertation intends to make a historical, political and ideological analysis of the American involvement in Southeast Asia having as object the film by Phillip Noyce, The Quiet American, based on the homonym work by Graham Greene
Vicente, Andrea Christine Childs Matt D. "The Cuban-U.S. transnational relationship the impact of recent migration on Cuban and Cuban-American society /." 2004. http://etd.lib.fsu.edu/theses/available/etd-11042004-143801.
Повний текст джерелаAdvisor: Dr. Matt D. Childs, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.
Lucas, Robert Christopher. "Crafting digital cinema : cinematographers in contemporary Hollywood." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4147.
Повний текст джерелаtext
Moura, Maria de Deus Cravo Pereira Martins Pais de. "A guerra-fria : uma análise comparativa dos filmes The Front e Dr. Stangelove." Master's thesis, 2007. http://hdl.handle.net/10400.2/538.
Повний текст джерелаSalcedo, Julian. "El otro, el cine y el intelectual : Víctor Gaviria, el poder de la imagen cinematográfica." Thèse, 2010. http://hdl.handle.net/1866/4730.
Повний текст джерелаIn a media society, we cannot define the intellectuals as a person who works only with letters. We should instead define the intellectual as one who uses different forms of communication or different media to better criticize society. Following existing definitions of the intellectual in a media society, we study in this thesis the films Rodrigo D. No futuro and La Vendedora de Rosas that were made in the shantytowns of Medellin by Colombian filmmaker Víctor Gaviria. In these films we can see the lives of teenagers and kids who live in a poor and violent society. This study is divided into three chapters. The first chapter surveys the socio-historic moments in which the films were made and looks at the concept of “sicariato” that has been used in academic studies and novels. In the second chapter we look at the problematic of the definition of the intellectual and at Víctor Gaviria’s creative process called “Voluntad Realista”. In the last chapter we study Gaviria’s manifesto “Las latas en el fondo del rio” in the historical context of Latin America’s ‘Third Cinema’, whose filmmakers wrote similar manifestos.
En una sociedad mediática no podemos definir al intelectual como una persona que se dedica simplemente a trabajar con las letras. Debemos definir al intelectual como una persona que utiliza otros medios de comunicación para buscar la mejor forma de criticar a la sociedad. Mirando la problemática de la definición del intelectual en una sociedad mediática hemos estudiado en esta memoria los largometrajes Rodrigo D. No Futuro (1990) y La Vendedora de Rosas (1999), que fueron producidos en las comunas de Medellín por el cineasta colombiano Víctor Gaviria. Estos largometrajes muestran las vivencias de jóvenes y niños que habitan en una realidad violenta llena de droga y pobreza. Nuestra investigación se articula en tres capítulos: el primero enfoca el momento socio-histórico en que las películas fueron filmadas, para luego examinar el concepto del “sicariato” que ha sido utilizado en estudios científicos y obras literarias. El segundo capítulo se adentra en la problemática de la definición del intelectual y en el proceso creador de Víctor Gaviria que llama la “Voluntad Realista”. En el tercer capítulo estudiamos el manifiesto escrito por Víctor Gaviria “Las latas en el fondo del río” en el contexto histórico del tercer cine, cuyos cineastas produjeron manifiestos similares.