Увійти

Готові списки джерел за темами / Imperialism in motion pictures / Дисертації

Дисертації з теми "Imperialism in motion pictures"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Imperialism in motion pictures.

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 26 лютого 2023

Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями

Оберіть тип джерела:

Ознайомтеся з топ-50 дисертацій для дослідження на тему "Imperialism in motion pictures".

Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.

Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.

Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.

1

Li, Chun-hoi Benjamin, and 李俊海. "Madame butterfly and orientalism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952732.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

2

Bae, Juyeon. "The representation of Asian others in Korean cinema since 2003 : multiculturalism, nationalism and sub-imperialism." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33610/.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

This thesis elucidates current industrial and representational tendencies in South Korean films that depict Asian others. Asian others such as migrant workers, marriage migrants, overseas ethnic Koreans and North Korean defectors have become increasingly important in South Korean filmic discourse and practice since 2003. This thesis examines how contemporary Korean cinema has responded to the multicultural society and how it seeks to articulate Korean nationalism in the globalised era through the appropriation of Asian others. Such films are intertwined with governmental policies of multiculturalism and discourses on globalisation and thus reflect historical formations both inside and outside South Korean cinema. In particular, this thesis places the celebration of multicultural identity in Korean cinema into dialogue with existing debates on nationalism and sub-imperialism. Through case studies of selected films, this thesis investigates the tension between a changing society and emerging sub-imperial perspectives. The specific interest of this thesis lies in the examination of historical, geopolitical and socio-cultural trajectory in the representation of Asian others, since this discursive structure has been formed around Asia and its regional socio-political history. In doing so, this thesis aims to shift the discursive sphere of these films, which is limited to the discussion of multiculturalism and globalisation, to an expanded sphere which embraces historical and regional perspectives.

3

Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

4

Li, Chun-hoi Benjamin. "Madame butterfly and orientalism." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

5

Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

6

Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

7

Cazdyn, Eric M. "Problem cinema : culture, capital and form in Japan /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

8

Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

9

Carbonaro, Joseph. "Enabling church members to evaluate the moral content of feature films." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

10

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

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

11

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

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

12

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

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

13

Restoule, Jean-Paul. "How "Indians" are read the representation of aboriginality in films by native and non-native directors /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30998.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

14

Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

15

Yang, Jing. "The construction of the Chinese woman in 1990s American cinema." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

16

Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

17

Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /." Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

18

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

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

19

Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

20

Gulledge, Jim. "A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

21

Szaloky, Melinda Terezia. "Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

22

Zhu, Ying. "From art to commerce : Chinese cinema in the era of reforms /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

23

Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

24

Berrien, John P. "The portrayal of the clergy in selected American films from the 1930's to the 1970's." Theological Research Exchange Network (TREN) Access this title online, 1989. http://www.tren.com.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

25

Luce, Micah. "The cinema and the church experiential [koinonia] in audience and congregation /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

26

Suen, Pak-kin. "Filming gay representations : male homosexuality in Hong Kong and Taiwanese cinema /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23242036.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

27

Potter, George Alexander. "Iphone to IMAX: the social implications of screen size." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/potter/PotterG1208.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

Screen size changes the way the moving image affects viewers and specific content is more likely to be influential if screened on the most appropriate media type. The ever-increasing popularity of portable devices, like the iPhone, means that viewers are watching more content on smaller screens than ever before. At the same time, movie theatres and Imax screens are still as popular as ever and seeing something on the big screen holds some kind of magic for the viewer. This fact has not been lost on environmental filmmakers who are increasingly finding ways of using different sized screens to promote their cause. Ultimately, the size of the screen not only determines what viewers watch, and how they are affected by what they see, but can actually be the deciding factor for whether they take action on an issue.

28

Dawson, Harold. "The commodification of tragedy a critical examination of contemporary film /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=786.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

29

Lee, Tain-dow. "Reforming film study at the level of higher education in Taiwan, the Republic of China /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147137.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

30

Falicov, Tamara Leah. "The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

31

Kunkle, Daniel James. "No brute images the need for a Reformed and transcendental approach to the movies /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

32

Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

33

Lee, Christina H. P. "Beyond the pink : (post) youth iconography in cinema /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

34

Noble, Fiona. "Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

35

Yeung, Yuk-ngan. "Gender representation in films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

36

Tam, Siu-yan Xavier, and 譚兆仁. "Between penumbrae and shadow: contextualizingtransnational queer Chinese cinemas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44142663.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

37

Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

38

Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).
Thesis (Ph.D.)--School of Humanities, 2004.

39

Haygood, Ashley. "The rise of controversial content in Film." Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

40

Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

41

Cui, Shuqin. "A cross-cultural analysis of gender and representation in Chinese new cinema." online access from Digital Dissertation Consortium access full-text, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9624592.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

42

Inocencio, Jessica Lynn. "The hybridization of African identities in African film." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.

43

Kellett, Ian Alexander. "Remote Outreach Cinema Campaign: (R.O.C.C.)." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/kellett/KellettI0806.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

This thesis proposes strategies for the making and exhibition of films that amplify conservation values and efforts in rural communities. The films support and promote the missions of local leaders and the agendas of respected environmental agencies. The filmmaking strategies entail identifying existing conservation values as experienced through broad themes such as quality of life, economics and community development. By focusing on the collaborative process of making and projecting a film, these strategies serve to inspire innovative solutions promoting responsible stewardship of the land and sea. This model of media creation and delivery is designed to empower local politics and communities with the momentum necessary to plan a future consistent with their environmental values. I call this media creation and delivery strategy, Remote Outreach Cinema Campaigns (R.O.C.C.); Remote, because the media is targeted towards rural audiences, Outreach because the media supports the missions of established environmental agencies, Cinema, because the final delivery is on a large screen and viewed collectively. And Campaign, because the final film is only one part of a process.

44

Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.

45

Haywood, Keene McDonald. "Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.

46

Luk, Siu-leng. "The dialogics of representation : Shanghai in contemporary Hong Kong films /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628752.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

47

明奇英 and Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

48

Diaz, Gandasegui Vicente. "(Un)real (un)realities : exploring the confusion of reality and unreality through cinema." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/unreal-unrealities(e5c3dcea-8f65-43a6-b067-24f0b4b4ecb0).html.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

This thesis examines the confusion of reality and unreality in contemporary media discourses, and focuses specifically upon the medium of cinema. The art of our time, cinema reflects the postmodern fusion between machine and culture. As such, a crucial concern of this work, which addresses the impact of digital and visual technological developments in western societies and examines how such advances have come to supersede the historical and cultural imperatives, is precisely this resultant confusion/fragmentation. The thesis analyzes how audiences interpret the current cinematic evolution, based on computer generated imagery, and how their subjectivity influences and impacts upon knowledge, ideology, culture and society as a whole. The creation of (un)realities in fictional spaces is most apparent in such concurrent places as the Internet, videogames and Virtual Reality, spaces which are certainly of interest to this thesis. However, it is also crucial to note that recent years have seen a proliferation of films based on the confusion between reality and unreality; and, further, that these have enforced a fear of being deceived by technology. Indeed, such post-classical films as Total Recall (Verhoeven, 1990), The Lawnmower Man (Leonard, 1992), The Matrix (Wachowski and Wachowski, 1999) and eXistenZ (Cronenberg, 1999) materialize this fear cinematographically; a fear which is arguably then assimilated by the spectators because this fear is projected onto their lives. In this respect, it is essential to be aware of the creation of new spaces, identify related boundaries and understand our own creations in order to have control over our destiny. Concepts such as (un)reality, a hybrid of reality and fiction, are essential to refer to the inventions, contexts and information that appears in a world where atoms and a binary of 0s and 1s constitute a dual code to which our lives conform. The production of an original film, Luna (Diaz Gandasegui, 2007), works in synergy with the written text to illuminate the complexities of (un)reality and the vital influence of technology on its confusion.

49

Ould, Meiloud Ahmed. "The image of Arabs in Hollywood films." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1445035141&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

50

Clauser, James Donald. "A comparison of the reaction to a colorized film over its black and white counterpart." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

Анотація:

Thesis (M.S.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2706. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves 66-67).