Дисертації: "Motion pictures – censorship – united states"

1

Cagle, Paul Christopher. "Historical foundations of Hollywood's social problem film, 1945-1967 /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174579.

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2

Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.

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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.

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3

Yeung, Yuk-ngan, and 楊玉顔. "Gender representation in films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.

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4

Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.

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5

Cavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301350.

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Thesis (Ph.D.)--Indiana University, Depts. of Communication and Culture and American Studies, 2007.
Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.

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6

Banchuen, Woraphat. "A comparative study of product placement in movies in the United States and Thailand." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3265.

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The purpose of this research was to compare the presence of product placement in movies across two different cultures, namely the U.S. and Thailand. In particular, this research examined the frequency of product placement in movies, the position of product placement in movies, and the target audiences in the U.S. and Thailand.

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7

Budziszewski, Przemyslaw. "Our enemy, ourselves: Political conspiracy in American cinema, 1970-present." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4269/.

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This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three decades, it analyzes the relationship between the conspiracy theory genre, the "crisis of confidence" in the American society, and the process of formation of American national identity.

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8

Ford, Conny (Conny M. ). "Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995)." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.

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The purpose of this study is (1) to examine mainstream studio films and their marketing (2) to examine independent films and their marketing (3) to explore the marketing challenges of independent films (4) to explore new developments in independent film and the emergence of crossover films (5) to explore the benefits of alliances between the major studios and independent film distributors (6) to examine the diminishing differences between major studio films and independent films.

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9

Hall, Karen J. "War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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10

Jarvinen, Lisa. "Hollywood's shadow the American film industry and its Spanish-speaking markets during the transition to sound, 1929--1936 /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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11

Cicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.

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This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.

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12

Ahearn, John P. (John Patrick). "A History of Contemporary Independent Film Marketing in the United States (1989-1998)." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277701/.

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This study explores the reasons for the rise in independent film's popularity, which have created a unique Hollywood phenomenon, the successful "mini-major" independent studio, dedicated to both art and commerce. Chapters cover the history of independent film, characteristics of both independent and mainstreamfilms with regards to financing, acquisition, distribution and marketing, trends within independent film in the late 1980s and 1990s, crucial distributors and landmark independent films, and key growth areas in the future for independent film.

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13

Larrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319100.

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14

Cobb, Thomas. "Decade of disarray : Hollywood allegories of U.S. foreign policy, 1999-2009." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8660/.

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This thesis explores how a series of Hollywood films allegorised the contradictions of American foreign policy between 1999 and 2009. These contradictions are underlined in pictures that use military intervention as a subtext. My argument considers the role of allegory in an array of genres, including war pictures, Westerns, and comic book adaptations. The case studies I analyse allegorise a bipartisan consensus surrounding military intervention. I postulate that this consensus was crystallised in the Kosovo War of 1999 and later became apotheosised in the 2003 Iraq War. I contend that, in pictures as diverse as There Will be Blood (2007) and The Dark Knight (2008), political allegory critiques the bipartisan allure of both neoconservatism and liberal interventionism’s promises of exporting American democracy. Moreover, these narratives examine the ideas of International Relations theorists as diverse as Walter Mead, Walter McDougall, and Joseph Nye. The theories propounded by these authors become embodied in different characterisations, leading to storylines that connote ideological friction and philosophical inconsistency. Consequently, Hollywood cinema during this period highlights a contradiction in American foreign policy, a theme that is further encoded in narrative elements that focus on the strained politics of coalition building and winning hearts and minds.

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15

Hawkins, Michael Gary. "Co-producing the postcolonial U.S.-Philippine cinematic relations, 1946-1986 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619118721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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16

Watkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.

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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

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17

Tsang, Wai-ho, and 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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18

Pauw, Waldemar. "The narcissistic masculinity of Travis Bickle : American "Reality" in Martin Scorsese's Taxi Driver." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1761.

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19

Dean, Adam T. "The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.

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This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.

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20

Jozajtis, Krzysztof. "Religion and film in American culture : the birth of a nation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/1501.

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This research addresses an emerging scholarship examining relations between media, religion, and culture in contemporary society. Whilst it acknowledges the value of this growing body of work, the study is based on a recognition that an overwhelming concern with the contemporary scene has resulted in a neglect of the history responsible for the conditions of the present. Given the prominence of America as both a source and an object of this scholarship, moreover, the particular national context in which the institutions and practices of the US media have developed has been taken for granted somewhat. Oriented towards these perceived lacunae, this thesis examines the interaction between religion and film as an influence upon the development of American culture in the twentieth-century. The dissertation is divided into two main parts. The first of these is devoted to an extended discussion of the scholarly background to the research, and argues that the historical dimension of the interrelationship between religion and film in America is worthy of more attention than it has hitherto received. In particular, it stresses the fundamental importance of religion within the discourse of national identity in the United States, and posits the notion of a non-denominational American civil religion as a useful theoretical tool with which to examine Hollywood as a distinctively 'American' form of cinema. Part Two develops this position through a case study of The Birth of a Nation, directed by D.W. Griffith, and one of the most famous films of all time. Discussing the picture as a response to a crisis in American Protestantism, the study argues that the race controversy prompted by its Southern viewpoint was, to some extent, a function of Griffith's ambitions to revive the traditional religious bases of U.S. national identity via the medium of film. Furthermore, it suggests that the impact of Birth helped enact a broader transformation of American culture, wherein the cinema became instrumental in sustaining the belief that the United States was a nation uniquely favoured by Providence.

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21

MaltÃ¨re, Hugues. "The socio-political dimension of film noir." Thesis, Virginia Tech, 1992. http://hdl.handle.net/10919/44231.

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After World War II, Hollywood produced a series of low budget pictures characterized by a dark mood, bleak urban landscapes and fierce violence. French critics called them films noirs (black films). These movies presented a critical vision of the social injustice present in the American capitalist society. This thesis examines the socio-political dimension of film noir firstly through its social, literary and filmic origins, then through a piecework study of shots and dialogues from six noir pictures: Body and Soul (1947), Force of Evil (1948), Knock On Any Door (1949), Kiss of Death (1947), I Walk Alone(1948) and The Set-up (1949). It is shown how the Marxist convictions of their makers influenced their style and their content. Even films noirs made by apolitical or moderate filmmakers follow a similar pattern. It is concluded that film noir contains expressions of anti-capitalist struggle toward social justice and moral redemption. The appeal of these ideas to many Americans is shown by the box-office success of these pictures, while many noir writers, actors and directors were the victims of the reactionary repression of the early fifties.

Master of Arts

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22

McCready, Sarah Scott. "Serial Killing Myths Versus Reality: A Content Analysis Of Serial Killer Flicks Made Between 1980 and 2001." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3228/.

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Public perceptions about serial homicide are more mythical than fact. Myths about serial homicide are perpetuated through several sources, especially the entertainment media which is a dominant and influential mythmaker. The number of films depicting serial killers and serial killing themes has increased dramatically in recent years. However, the reality of these films is debatable. This research examines the reality, or lack thereof, of the most recent films involving a serial killing theme. Hickey provides a wealth of statistical information on a number of serial killers and serial killings. A content analysis of the fifty top grossing serial killer movies made between 1980 and 2001 was conducted using variables from Hickey research. Research shows similarities and differences between variables, however, results concludes the entertainment media does not accurately portray serial homicide.

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23

Reynolds, Kevin Patrick. "That justice be seen : the American prosecution's use of film at the Nuremberg International Military Tribunal." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7595/.

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This dissertation examines the use of motion-picture film by the American Prosecution before and during the 'Trial of the Major War Criminals' at the Nuremberg International Military Tribunal (IMT) in Germany, 1945-1946. My research is based on never before used material including newly discovered film, official papers, and private letters. I argue that investigating the use of film, more than any other medium, enables us to comprehend the American Prosecution's vision of justice after the Second World War. I focus on three crucial themes: the political, juridical and moral concerns of the American planners and prosecutors. Although much historical scholarship focuses on American designs to 're-educate' Germans, I show that the American planners of Nuremberg felt that the education of Americans was also essential. The trial was designed to draw a distinction between Nazi 'barbarism' and 'Western civilization' and presented an opportunity that Americans used to promote their political values at home as well as abroad. They used film to affirm and showcase - to millions of their fellow citizens - some of the values and methods of liberal democracy. The American planners and prosecutors viewed the Nazi defendants as responsible representatives of the German people and used the controversial doctrine of 'conspiracy' to facilitate the new principle of individual accountability in international law. Additionally, they also proclaimed that planning and waging 'aggressive' war had constituted, years before the Nazis came to power, criminal activity. Yet representing 'conspiracy' and 'aggression' with film graphically exposed the limits of law in dealing with unprecedented injustice. The particular form of spectacle arising from the American use of film at Nuremberg has remained overlooked by scholarship in a variety of relevant fields. The American Prosecution staged a form of morality play with film. The aim, however, was not the redemption of the Nazi defendants; it was, rather, only to condemn and punish them. The Americans confronted the defendants with images of atrocity, as well as images of themselves. This technique functioned as a theatrical device in which onlookers felt that they could examine the defendants for signs (or the absence) of remorse. This spectacle enabled the presentation of a particularly powerful moral case against the defendants and the Nazi ideology they had espoused. This dissertation, therefore, offers a new contribution to our understanding of the visual culture of legal procedure by using an historical case-study of transitional justice after the Second World War.

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24

Andrin, Muriel. "La fascination de la corruption: étude de l'héroïne maléfique dans le mélodrame filmique américain (1940-1953)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211697.

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25

Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.

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Thesis (PhD)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.

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26

Turner-Reed, Laura. "'Gimme That Ole Time Religion': Traditionalism, Progressivism and Popular Media." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3202/.

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This thesis examines the role of Christianity in contemporary American culture using 1990s popular media as cultural artifacts. Building on theories of ideological analysis and hegemony, this project uncovers a balance between progressive and traditionalist ideologies in American culture with progressive ideologies most often superficially acknowledged and incorporated into dominant traditionalist Christian ideologies through hegemonic negotiation. An analysis of the popular Hollywood films The Last Temptation of Christ, Leap of Faith, Michael, City of Angels, Dogma and Keeping the Faith, illustrates this process by addressing Christian dominance in multicultural America, a backlash against feminism constructed through patriarchal and “family values” ideologies, and an integration of popular culture and traditionalist Christianity.

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27

Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.

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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and defense plants. As a result of their war consciousness, civilian men in government documentary films partially claimed the traditional domestic realm of women and redefined American gender roles as interactive and overlapping. The intersecting gender spheres in OWI films exemplify that men experienced manhood not in isolation from women. This propagandized image of civilian men during the Second World War supports the claims of scholars who criticize the ideology of "separate spheres" to describe socially constructed domains of the male and female gender. In contrast, the thesis findings show that the social, political, and economic definitions of male and female roles can be altered, extended, or adjusted when economically, politically, and culturally expedient.
Department of History

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28

Throckmorton-Belzer, Leslee. "Seeing celebrities smoke in cinema : how are young people impacted?" Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124737.

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Increased smoking by attractive celebrities in films may be one source of influence on young people's increased smoking behavior. Theories of observational learning and cognitive scripting suggest that actions and perceptions may be influenced by viewing behaviors of attractive models and that observers may be more likely to imitate the observed behaviors when they are in specific contexts similar to the ones viewed. We investigated the effects of viewing characters either smoking or not smoking while having either positive or negative experiences on participants' perceptions of the characters, smoking urge, and intentions to smoke. We found that viewing characters smoking in negative scenes decreased likelihood of smoking for participants. Females were more likely than males to report a likelihood to smoke after viewing negative scenes, regardless of whether characters smoked. Female regular smokers were more likely to smoke in negative scenarios than in positive scenarios, and male occasional smokers and nonsmokers were more likely to smoke in positive scenarios than negative scenarios.
Department of Psychological Science

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29

Lafferty, Sarah. "Holding Out For A Female Hero: The Visual And Narrative Representation Of The Female FBI Agent In Hollywood Psychological Thrillers From 1991-2008." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237405595.

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30

Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

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31

Petrocelli, Heather Oriana. "Portland's "Refugee from Occupied Hollywood": Andries Deinum, his Center for the Moving Image, and Film Education in the United States." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/608.

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Two years after Dutch émigré Andries Deinum was fired from the University of Southern California in 1955 for refusing to cooperate with the House Un-American Activities Committee, he moved to Portland, Oregon to teach film courses through the Portland Extension Center. By 1969 he had become integral to the local film community and had formed Portland State University's Center for the Moving Image (CMI), where he and Tom Taylor taught film history, criticism, and production for the next thirteen years. Although CMI was eliminated in 1981 as part of PSU's financial exigency, CMI's teachers and students have been a vital part of the thriving film community in Portland since its foundation. A key former student and figure in Portland's film community, Dr. Brooke Jacobson credits Deinum, Taylor, and CMI for laying the foundation for the Northwest Film Center (co-founded by Jacobson in 1971 as the Northwest Film Study Center). Through archival research and oral history methodology, this thesis pieces together Andries Deinum's role in the development of film education in the United States and the mark he left on Portland's cultural landscape, specifically the city's vital and thriving cinematic community.

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32

Franks, Kristin N. "Exclusion at the Border: Female Smugglers in Maria Full of Grace and Frozen River." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244470239.

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33

Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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34

Arora, Kulvinder. "Assimilation and its counter-narratives twentieth-century European and South Asian immigrant narratives to the United States /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3200730.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed March 1, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 240-248).

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35

Schembri, Peter Mark. "The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.

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In 1977, Star Wars opened in the United States to become a multimillion dollar blockbuster. Star Wars heralded the arrival of the recombinant science fiction-fantasy film. By the end of the 1980s, recombinant science fiction-fantasy films were the top grossing Hollywood manufactured films of the decade, with E.T., The Extra-Terrestrial (1982) becoming the highest grossing film in Hollywood's history. The use of genre by the Hollywood film industry during the 1980s ensured the continued popularity, and therefore financial success as measured by box-office receipts, of Hollywood recombinant science fiction films. This thesis argues that the Hollywood film industry during the 1980s, used genre as it operated through the Hollywood standard, to regulate and control the interrelationship between: the economic structures and practices of the Hollywood film industry; the content of recombinant science fiction genre films and generic cycles as expressed in Hollywood manufactured film texts; and the consumption by American audiences of these texts. The Hollywood standard is essentially a standardized industrial process. The standardized production/manufacturing conventions of the 1980s Hollywood standard, informed the manufacture of science fiction film commodities by studio executives and contracted creative personnel. The Hollywood standard also influenced the science fiction genre's product/content conventions and formulas. Although the science fiction genre was successfully recombined with the fantasy genre, each genre had its own content conventions and formulas. The manufacture, promotion, distribution, and exhibition of Hollywood manufactured recombinant science fiction films entailed relationships between a complex network of organizations. This thesis details four functions, each a stage of an industrial process operating in a consumer-orientated market economy. All four functions were present in the 1980s Hollywood film industry system: manufacture or creation; entrepreneurship and patronage; promotion and marketing; and consumption. These functions transformed a science fiction film from a conception to a commercial commodity. The Hollywood film industry used genre in an attempt to regulate and control each stage of the Hollywood film industry system. 1980s recombinant science fiction films, as commercial commodities manufactured through an industrial process, were cultural products subject to the supply and demand pressures of the American marketplace. The theoretical approach upon which this thesis is based is a synthesis of a number of social science perspectives. Each chapter of this thesis corresponds to a stage of the industrial process. The basic process of communication model is combined with semiotics in the performance model. The performance model acknowledges that the content of film texts are determined by studio executives and creative personnel who manufactured texts according to the Hollywood standard. During the 1980s, Hollywood film manufacturers were unable to predict, or predicted only to a limited extent, what manufactured genre film commodities would be successful in the marketplace. As a coping strategy, Hollywood film studios engaged in overproduction. Once the film commodity was selected for release in the American marketplace, it was subject to differential promotion, with greater financial resources being allocated to expensive science fiction films that were likely to be potential blockbusters. But every recombinant science fiction film was promoted. As a marketing strategy, genre recombinations could be used to develop a unique brand image for each manufactured film commodity so that it could be targeted at different segments of a mass market. A mass audience of American consumers in the 1980s were aggregates of unique individuals and groups of active consumers, making informed and conscious decisions in the marketplace. When individuals paid to see a recombinant science fiction film, they expected to obtain meanings and pleasure from it. Consumers often used genre as an important strategy to gather initial information about a film prior to viewing, and genre was often used as an strategy for evaluating the film after viewing. Using the concept of cultural forum, this thesis argues that Hollywood manufactured recombinant science fiction film texts 'commented' on ideological conflicts. Individuals and groups were capable of creating opposition readings, and could engage the Hollywood film industry at the level of personal actions; individuals were not being ideologically manipulated. It was upon consumer demand and expectations that the Hollywood film industry system during the 1980s was based. Since consumers in the 1980s were notoriously fickle in their selection of films, the Hollywood film industry used genre in an attempt to direct audience reception of film commodities in the marketplace.

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Housel, Rebecca Anne Languages &amp Linguistics Faculty of Arts &amp Social Sciences UNSW. "My truth: women speak cancer." Publisher:University of New South Wales. Languages & Linguistics, 2007. http://handle.unsw.edu.au/1959.4/40732.

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1) My Truth: Women Speak Cancer is a creative nonfiction based on three years of interviews with twelve survivors told through the lens of the author's experience as a three-time, sixteen-year survivor of multiple cancers. Each chapter features a different survivor and her story; the cancers discussed include non-Hodgkin's lymphoma, Osteosarcoma, Melanoma, as well as brain, ovarian, breast, and thyroid cancers. Current definitions, treatments and statistics are included at the end of each chapter. The book ends with a comprehensive After Words, combining poetry and prose, taking the reader on a further journey of introspection on life, love, friendship, and loss. 2) The Narrative of Pathogynography is a critical exegesis using established theory in the fields of creative writing, sociology, ethnography, literature, and medicine to examine and further define the sub genre of the theoria, poiesis and praxis involved in creating women's illness narrative, or what Housel terms, pathogynography. Housel develops original terminology to define yet undiscovered spaces based on her work in My Truth: Women Speak Cancer.

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Girotto, Breno. "A vitória dos vencidos : política e identidade no filme O Álamo, de John Wayne /." Assis, 2019. http://hdl.handle.net/11449/181854.

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Orientador: Carlos Alberto Sampaio Barbosa
Banca: José Luis Bendicho Beired
Banca: Mary Anne Junqueira
Resumo: Em 1960 era lançado o filme O Álamo, dirigido, produzido e protagonizado por John Wayne, um dos maiores atores de Hollywood. O Álamo tratava da história de 180 combatentes que tomaram o forte de mesmo nome para lutar contra as tropas mexicanas lideradas pelo presidente General Antonio Lopes de Santa Anna. O filme de Wayne retrata um evento controverso da história compartilhada entre México e Estados Unidos. A Batalha do Álamo, como ficou conhecido o conflito revivido pelo filme de John Wayne, ocorreu entre 23 de fevereiro e 6 de março de 1836, e foi o cerco de 13 dias ao forte Álamo, pequena missão fundada por espanhóis no século XIX. Esta batalha está inserida no contexto da Revolução do Texas, conflito gerado por colonos da província de Coauhilia y Tejas que buscavam maior autonomia na gestão da colônia, assim como liberação da utilização de mão-de-obra escrava, abolida no México desde 1829. O filme de Wayne se insere no contexto político da Guerra Fria, conflito que polarizou o mundo entre Estados Unidos e União Soviética, apresentando um conflito entre um governo autoritário, o de Santa Anna, e rebeldes que lutam pela liberdade, grupo liderado Jim Bowie, Davy Crockett e William Travis. O Álamo ainda proporciona compreender quais as visões de mundo e tendências políticas seguidas por John Wayne, bem como o que ele entende sobre este conflito, que habita o imaginário americano desde o século XIX
Abstract: Battle of the Alamo, as it became known, occurred between February 23 and March 6, 1836, and was the siege of 13 days to the Alamo, a small mission founded by Spaniards in nineteenthcentury. This battle is embedded in the context of the Texas Revolution, a conflict generated by settlers from the province of Coahuila and Texas who sought greater autonomy in the management of the colony, as well as liberation from the use of slave labor abolished in Mexico since 1829. Wayne's film fits into the political context of the Cold War, a conflict that polarized the world between the United States and the Soviet Union, presenting a conflict between an authoritarian government, that of Santa Anna, and rebels fighting for freedom, group led by Jim Bowie, Davy Crockett and William Travis. The Alamo still provides an understanding of John Wayne's world views and political tendencies, as well as what he understands about this conflict, which inhabits the American imagination since the nineteenth century
Mestre

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38

Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.

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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.

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39

Mills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.

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World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also reflect society's image of women as homemakers first and war workers second. This double vision,reflected throughout the documentary films became the catalyst which maintained women in traditional roles and, in turn, rejected attempts to alter those roles in any significant way.This study uses the vehicle of World War II documentaryfilms, utilizing the World War II Historical Film Collection, Bracken Library, Ball State University (the largest collection outside the National Archives), the Office of War Information papers, and extensive secondary research, to investigate the images of women during the war years.
Department of History

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40

Colson-Duparchy, Alexia. "Bridges, hoops and pools : international film co-production : the interface between culture and trade." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=78210.

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International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada.
The author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels.
A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade.
Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.

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41

Munde, Gail Marie. "An Examination of Selected Product Characteristics Associated with the Sales Success of Nontheatrical Film and Video Works." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331458/.

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The purpose of this study was to test assumptions made about characteristics of nontheatrical film and video works that were thought to contribute to the frequency with which the works were purchased. This study proposed and tested three variables for which relationships to the sales success of nontheatrical film and video works were hypothesized, as well as four variables about which no hypotheses were forwarded. Nineteen film and video distribution organizations contributed unit sales data for the period 1982-1987 on 151 works copyrighted between 1982 and 1984. These data were analyzed for relationships between sales totals and 1) curricular significance of the works' subjects, 2) relevance to general reading interest in the works' subjects, 3) intensity of competition faced by the works, 4) the works' Dewey classifications as compared to the composition of typical K-12 school library book collections, 5) the series or non-series status of the works, 6) the media format(s) in which the works were available for purchase and 7) the sources of the works' production financing. Analyses of correlation and association were performed and no significant relationships were found between sales and curricular significance of the works' subjects, or their relevance to general reading interest. Some evidence was presented to suggest a significant association between the intensity of competition faced by a work and its eventual sales. None of the hypotheses about these variables was supported. However, the four remaining variables were found to be significant, or to approach significance, as correlates or associates of sales success. The best predictor of sales for works intended for the K-12 school market was the work's Dewey Decimal classification. Other important findings included associations between high sales and intense product competition, between high sales and non-series status, between high sales and availability for purchase in 16mm film and between high sales and works that had been financed by the distribution organization.

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42

Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.

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Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.

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Jay, Samuel M. "Transforming the Predator: Representations of the Child Sexual Abuser in 21st Century American Visual Media." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11031/.

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This thesis examines the ways American visual media -television and mainstream/independent cinema- has presented the narrative of child sexual abuse since the beginning of the 21st century. Due to the rise of the counterculture movement and the sexual revolution of the 1960s, a discourse for talking about child sexuality was created. By providing an opportunity to discuss children and sex, for the first time cultural products could deal overtly with child sexual abuse, rather than connotatively. In response to this new discourse, conservative ideals about child sexuality proliferated in the 1970s and 1980s that attempted to return the child to a world of purity and asexuality with all threats to this purity being monstrous. The examples discussed in this thesis highlight the ways that contemporary American visual media has responded to three decades of obsession that created a "master narrative" of child sexual abuse - something that continues to play a significant role in society.

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44

Langley, Richard Mark. "Ameritocracy : Hollywood blockbusters and the universalisation of American values." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3376/.

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The thesis contends that there is a dominant strand of thinking driving the prevailing metanarrative of American global hegemony. This strand, constructed here as Ameritocracy, taps into three interconnected and fundamental principles concerning the nature of America: that American values are universal, terminal and providential. However, this notion of American universality is contradicted by a troubling parochialism, one that reveals religious, racial and cultural particularities generated from American identity, and from the mythic, providential origin story of America. The thesis expands on the theory of Ameritocracy, its historical derivation and theoretical antecedents, and its application within the soft power realm of Hollywood film. Ameritocracy finds its apotheosis in the popular blockbuster films of the unipolar era. The global aspirations of the blockbuster conflate with the universality of the medium, and thereby function as the perfect conduit for expounding the presumed universality of the American nation, promoting and proselytising on behalf of American primacy, using Ameritocratic arguments to legitimise and normalise U.S. hegemony. Analysis of blockbuster texts reveals that the notions of universality they embed are often partial and particular, featuring an obfuscation of definitions, between ideals and interests, between ends and means, and between the universal and the American.

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45

Arthur, Tori. "The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467889165.

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46

Callahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.

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The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.

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47

Zhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.

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48

Hwang, Junghyun. "Specters of the Cold War in America's century the Korean War and transnational politics of national imaginaries in the 1950s /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336473.

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Анотація:

Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed December 16, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-219).

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49

Titman, Nathan. "THE REBIRTH OF SLICK: CLINTON, TRAVOLTA, AND RECUPERATIONS OF HARD-BODY NATIONHOOD IN THE 1990s." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151330074.

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50

Grant, Michael E. (Michael Edward). "China Run." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.

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China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.

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