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Дисертації з теми "Pictures in the theater"

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Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 28 липня 2024

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1

Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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Анотація:

This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.

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3

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.

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4

Khazaal, Natalie Michaylova. "Sectarianism, language, and language education in Lebanese theater, television, and film." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Odenwald, Florian. "Der nazistische Kampf gegen das "Undeutsche" in Theater und Film 1920-1945." München : Utz, 2006. http://books.google.com/books?id=cOtkAAAAMAAJ.

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7

Perugini, Sas̆a. "The aesthetics of Fellini's art seen through its ties with popular entertainment /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.

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Анотація:

Thesis (Ph.D.)--Tufts University, 2001.
Submitted to the Dept. of Drama. Advisers: Laurence Senelick; Jeanne Dillon. Includes bibliographical references (leaves 228-243). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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8

Sava, Laura. "Intermedial encounters : the representation of theatre in film." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49180/.

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Анотація:

This thesis closely examines the representation of theatre in film, using insights derived from an ever-growing literature dedicated to the notion of intermediality, in order to understand film’s temporary disguise as another medium. With the realization that theatre is not just another object of representation in film, it becomes increasingly apparent that an analysis of theatre-in-film has the potential of serving as a catalyst for a complex reflection on the nature of mediation. The present dissertation studies the conditions under which this potential is realized. Throughout the thesis, I am integrating textual analysis with theoretical considerations, in an attempt to offer new readings of the chosen films and show how they cohere around four distinct problems pertaining to the issue of theatre-in-film. These problems can be spelled out as follows: the length and embedment of the theatrical inserts, the dual address of the represented performances, the relation between quoted theatre and theatricality and the problem of showing versus telling in the representation of theatre. The case studies were selected from a period spanning forty years; they range from Jacques Rivette’s 1968 L’Amour fou to Charlie Kaufman’s 2008 Synecdoche, New York. Through an in-depth analysis of these case studies, the chapters demonstrate that film is extremely versatile in the handling of theatre references, and that it is precisely this versatility that throws in crisis the existent intermedial discourse. I am arguing that staging a theatre event in film comes with its own set of challenges that need to be accounted for with the assistance of a suitable methodology. In a sense, I have devised my own methodology, by using intermediality studies in conjunction with concepts borrowed from narrative and drama theory, as well as with the analytical tools of film studies.

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9

Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times reinventing iconographies, nation, and gender /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164735049.

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10

Urquijo-Ruiz, Rita E. "Las figuras de la peladita/el peladito y la pachuca/el pachuco en la producción cultural chicana y mexicana de 1920 a 1990 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3138840.

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Анотація:

Thesis (Ph. D.)--University of California, San Diego, 2004.
Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).

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11

Kung, Sze-chung Charles. "Cinema park." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956206.

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12

Pedlingham, Graeme G. "The (un)scene of memory : energetic theory and representation in theatre and film." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6939/.

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Анотація:

The wager of this thesis is that, firstly, there exists an intrinsic relationship between memory and representation in visual performative media and, secondly, that a referential, Aristotelian conception of memory is made problematic by these same visual media. There are aspects within the ontology of both theatre and film, the specific media examined, which resist the model of representation that this memory constitutes. It is my contention that there is an alternative conception of memory, more appropriate to the difficulties that theatre and film present, which enables another way of understanding these media. This other memory is derived from the distinction in Freud's work between psychoanalysis as a hermeneutics, and as an energetics. I draw upon an 'energetic' conception of memory as the foundation for an energetic approach to theatre and film. In the first chapter I enunciate this distinction in Freud's work, tracing his energetic model from the Project of 1895 to the role of affect in the metapsychological papers, before moving to its elaboration by later psychoanalysts (including André Green, Christopher Bollas and César and Sára Botella). For the second chapter, I relate this psychoanalytic discussion to poststructuralist theory, which Freudian energetics has considerably influenced. This is examined through Jacques Derrida's interpretation of Freud's work on memory, and Jean-François Lyotard's own philosophy of energetics (with which much of my work is in dialogue). The third and fourth chapters turn to theatre and film respectively. Each chapter initially explores the aspects of each medium that complicate the more familiar notion of referential memory as a relevant model of representation. I then establish how these same points of difficulty demonstrate an affinity with an energetic approach, opening the possibility of a new way of thinking theatre and film through memory, and of thinking memory through these visual media. A comparative approach is taken to identify and articulate the distinctiveness of these particular media, through their unique interactions with energetic theory. Looking ahead, this aims to provide the foundation for developing a means of addressing emergent visual media (particularly the videogame), which similarly complicates hermeneutic readings, based upon a study of their most significant antecedents: theatre and film.

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13

Hemingway, Simon Peter. "Hierophanies and heterotopias : magic, moving picture theaters and churches, 1907-1922 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008349.

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14

Christoffersen, Joshua Michael. "Telling stories with pictures : exploring theatrical design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1568.

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Анотація:

This document will chronicle the theatrical design work of Josh Christoffersen at the University of Iowa from August of 2012 through the spring of 2015. The bulk of the images included will be production photos of realized productions--both large-scale mainstage and smaller independent productions--as well as draftings, paint elevations, and sketches to illuminate the process of the artist. The intent is that this document will stand as a record of the various techniques and tactics used throughout my graduate career to tell a story through design

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15

Hoffman, Warren D. "Gay-valt : queer performance and identity in twentieth-century Jewish American literature, theater, and film /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://wwwlib.umi.com/dissertations/fullcit/3135065.

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16

Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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17

Koutsourakis, Angelos. "'A film should be like a stone in your shoe' : a Brechtian reading of Lars von Trier." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7458/.

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Анотація:

This central premise of this thesis is that Lars von Trier is a political director. Through a detailed formal analysis of five films I proceed to discuss the political implications of form, something that has not been acknowledged by scholarship so far. In this thesis, I employ Brecht as a methodological tool so as to discuss the shift from a dialectical cinema devoted to the production of knowledge effects, to a post-Brechtian one that brings together points of tension that remain unresolved. Chapter 1 proceeds to a historical evaluation of Brecht's reception in film theory and considers the ways that Brecht's theory and practice can address the cinematic and political concerns of the present. The chapter also locates von Trier under the rubric of the post-Brechtian by comparing him to past film practices. Chapter 2 moves to a discussion of von Trier's Europa trilogy and focuses on issues of historical representation. Emphasis is placed on formal elements that challenge the narrative laws of classical cinema. The chapter argues that von Trier follows Brecht's mistrust of a historical representation based on pictorial verisimilitude, without however sharing his forward-looking politics and his view of history as Marxist science. Chapter 3 discusses Dogme 95 and The Idiots (1998). Firstly, the chapter discusses Dogme's combination of a political modernist rhetoric with a realist one and places Dogme's return to the past in a historical context. Secondly, the chapter considers the role of performance as a formal and thematic element in The Idiots. I draw attention to the ways that the camera becomes performative and brings together material of dramaturgical importance with moments that are the product of cinematic contingency. My discussion is very much informed by contemporary post-Brechtian performance and film studies invested in the discussion of ‘corporeal cinema'. Chapter 4 discusses Dogville, a film with obvious references to Brecht. Unlike previous readings, I shift the emphasis from the film's assumed ‘Anti-Americanism' and proceed to a formal analysis that can rethink the film's politics and innovations. While Brecht has been thought to be as a fleeting presence in von Trier's films by most critics, this thesis suggests that our knowledge of von Trier's formal innovations can be deepened and enlivened by discussing them in conjunction with Brecht's theory. By returning to Brecht, we can also rethink the importance of form as the key to a film's politics.

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18

Da, Silva Gregório Paulo Henrique. "Intersections between Shakespeare and Beckett on stage, screen and page." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7453/.

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Анотація:

This thesis comparatively and critically examines the connections between Shakespeare and the drama of Samuel Beckett that have been established in British adaptations of Shakespeare’s plays for the stage, screen and page. Beckett’s distinct dramatic style has become an alternative method for the interpretation of such Shakespeare plays as King Lear and Timon of Athens for stage and screen. The first part of this thesis focuses on the assimilation of dramatic elements characteristic of Beckett’s theatre into four productions of King Lear and Timon by the Royal Shakespeare Company. The affinities between Shakespeare and Beckett’s theatre established at the RSC gained significance in relation to wider theatrical contexts. Chapters Three and Four form the second part of this thesis. These chapters examine the various ways in which the Beckettian method employed at the RSC was further explored and used in different media. The Beckettian overtones in Brook’s film of Lear (1971), and Jonathan Miller’s television adaptation of Timon (1981) indicate a strong affiliation between these adaptations and stage traditions associated with the RSC and Beckett’s absurdist theatre. Chapter Four investigates the Beckettian influence in two Hamlet offshoots produced in the 1960s: Charles Marowitz’s Hamlet, and Tom Stoppard’s Rosencrantz and Guildenstern are Dead. The intermingling of Beckett’s theatre with Shakespeare’s plays across different media not only reveals distinct modes of engagement with the Shakespearean plays, but also provides a broader understanding of how audiences respond to and interpret diverse methods of adapting Shakespeare.

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19

Hartwig, David W. "The place of Shakespeare : performing King Lear and The tempest in an endangered world." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3909/.

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Анотація:

This thesis brings ecocriticism to Shakespearean performance through an examination of adapted performance worlds. Studying cinematic and theatrical productions of Shakespeare’s King Lear and The Tempest, it develops a strategy of ecopoetic analysis: a critical approach to the creation of worlds in the process of adapting a play for performance. This work developed out of my own environmentalism and experience in performing Shakespeare’s works. My goal is to develop a critical strategy for examining performance that utilises the tools of ecological criticism and furthers the fields of performance studies and ecocriticism. Ecocriticism modifies the scientific analyses performed by ecologists for looking at works of art. Beginning with the principal that everything is connected to everything else, ecocritics focus on the interactions between elements of a work, the interactions between the work and the world at large, and between the work and its audience. I examine the cultural context of a work, other landmark works with which it engages intertextually, and the reactions of original audience members, especially journalistic and academic reviewers, in order to ascertain how an individual production adapts a Shakespearean play to a new environment. I found in my analyses that Shakespeare’s works are particularly fertile ground for an ecopoetic analysis. Directors, in their efforts to keep his work relevant to a modern audience, frequently adapt and alter the worlds of Shakespeare’s plays in their productions. My ecopoetic approach to these productions reveals the ways in which the performances engage their audience, providing a better understanding of how to increase participatory spectatorship. I also found that this approach reveals underlying engagements between individual productions and the culture out of which they grew, and that the construction of performance environments is tied to cultural conceptions of the natural world. Finally, I discovered that Shakespeare’s works are an international language for performance, with adapters around the world experimenting with his plays in order to further the effectiveness of theatrical and cinematic production. As such, they are a logical place in which to formulate a new method of performance criticism, one which engages the world of the performance, the context of the production, and the audience that experiences the performance world. This thesis confronts numerous difficulties, including the fact that ecocriticism does not provide a critical apparatus as such, but is a politically-inspired way of viewing works. As such, I develop a more rigourous method of analysis, applying the tools of ecological science (interconnectedness, ecosystems, and adaptation), and the ethos of a modified phenomenology of performance criticism, to the worlds of performances. The crucial confrontation in my work is between nature and culture. I argue that the two are mutually constructing, and that performance occupies a place in which the two meet and interact and is thus the ideal ecosystem in which to investigate the interactions between culture and nature. Our world is endangered, the effects of global climate change and pollution are potentially catastrophic for us all. The issues that we face, the relationship between our human culture and our natural world, are dramatised in the works that I examine. The ecopoetic model of analysis that I develop can be applied to a greater variety of performance works, and this critical methodology is paramount for understanding the world and our place within it.

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20

Clò, Clarissa. "Italy in the world and the world in Italy : tracing alternative cultural trajectories /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3100380.

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21

Guo, Kuo. "For Profit or for What?A Comparative Case Study on Film Programming Strategies in Nonprofit and For-profit Movie Theaters." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1534506758595266.

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22

Hidaka, Maho. "An exploration of doubleness through Kieslowski's films and my theatre practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1017.

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Анотація:

This thesis explores the theme of doubleness in the fields of film and theatre. I would like to use the word, “doubleness,” to refer to the wide range of states which contain any dual or overlapping aspects, beyond the normal association of the word, “double,” as meaning, “a person who looks exactly like another.” I also use the word, “doubling,” when I would like to emphasise the act of repeating or overlapping states. I will examine the doubleness not only within or in between characters but also within relationships between the created film world and the real world in which the creators have produced the film reality. The thesis consists of two parts. Part I deals with films by a Polish film director, Krzysztof Kieslowski, in three chapters. Kieslowski is a Polish film director who was born in 1942 and died in 1996. He started his career as a documentary filmmaker and shifted to become a feature film director, which has earned him a great international acclaim. The first chapter will examine the issue of doubleness in The Double Life of Veronlque, focusing on the doubled relation between Weronika and Veronique as well as on Veronique's boyfriend, Alexandre's interaction within this doubled relationship. The significance of Alexandre's occupation as a puppeteer is considered as part of the argument. The doubleness found in the process of the production is also discussed. The second chapter will be divided into three sections in order to discuss different types of doubleness in the three works that constitute a trilogy, Three Colours: Blue, White, Red. The final chapter of Part I will consider the doubling between the creators and the created of these films, focusing on some of the film characters who are seen as doubles of the director and the musical director. His earlier works will also be discussed when relevant throughout these three chapters... Part II introduces my own theatre creations and includes some comparisons with Kieslowski’s films. My theatrical work created during the course mainly concerns the scriptwriting and staging of Cui de Sac and Requiem. Cui de Sac was written and staged and deals with the main characters self-discovery through encounters with her doubles in dream. Requiem was produced in the following year and features an integration of classical piano performance as part of a theatrical piece. Here the central issue is the double personality of her dead twin sister inside her mind. The whole thesis deals with the issue of doubleness in order to explore the significance of understanding this subject for a richer comprehension of films and theatre works; for a better understanding of one's own identity; and for acknowledging the connections between people beyond time and space through this mysterious mediation of doubles.

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23

Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /." View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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24

Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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Анотація:

A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.

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25

Labosier, James Bruce. "Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4952.

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Анотація:

For about the first fifteen years after its commercial introduction motion picture entertainment throughout the United States was supported almost entirely by the mass of urban industrial workers, immigrants and their families. Beginning a few years before 1910 motion pictures began acquiring regular support from a limited element of the more affluent citizens until by the end of 1916 they constituted motion pictures' primary audience. This paper examines the audience development and conversion as it occurred in the downtown theaters of Portland, Oregon. Motion pictures were shown to two diverse audiences in Portland during the 1890s, regularly on a mass level to the lower income strata and sporadically to regular stage theater audiences. Their expectations differed greatly. Urban workers craved entertainment for the sake of diversion while middle and upper class audiences required responsibility and purpose in their entertainments. After the turn of the century when big time vaudeville established itself in Portland films were supported almost entirely by the lower class element in arcades and vaudeville theaters. Motion pictures in these venues catered to their audiences' tastes. During the 4-5 year period after nickelodeons developed in 1906 a small number of Portland's middle class became regular patrons, due partially to national imposition of licensing and establishment of a censorship board fostering a more respectable image. After 1910, when national support for motion pictures had been proven permanent and unsatisfied, large movie palaces emerged in Portland. These theaters and their amenities created atmospheres consistent with those of stage theaters, providing comfortable and familiar surroundings for middle class audiences. Industrywide developments such as increased story length, better quality productions and evidence of social responsibility enhanced the ease of middle class transition from the stage theater to the movie theater.

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26

Rogers, Jami. "Shakespeare and the thirties : representations of the past in contemporary performance." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.

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Анотація:

This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.

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27

Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.

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Анотація:

From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.

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28

Edwards, Kurt Alexander. "Billy Graham, Elmer Gantry, and the Performance of a New American Revivalism." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1212785421.

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29

Henrique, Marina Gomes 1974. "Marias." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285288.

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Анотація:

Orientador: Antonio Fernando da Conceição Passos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T21:34:19Z (GMT). No. of bitstreams: 1 Henrique_MarinaGomes_M.pdf: 1393898 bytes, checksum: c3b6192a2da03a56185d3e6db5020ee0 (MD5) Previous issue date: 2010
Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema
Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie
Mestrado
Multimeios
Mestra em Multimeios

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30

Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.

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31

Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.

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32

Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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33

Burger, Alissa Dian. "From 'The Wizard of Oz' to 'Wicked': Trajectory of American Myth." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1236369185.

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34

Jackson, Indya J. "There Will Be No Pictures of Pigs Shooting Down Brothers in the Instant Replay: Surveillance and Death in the Black Arts Movement." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588601272757038.

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35

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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Анотація:

This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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36

Humphrey, Gregory MacKenzie. "The Evolution of the Robotic Other in Science Fiction Film and Literature: from the Age of the Human to the Era of the Post-human." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1296245075.

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37

Rossholm, Anna Sofia. "Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.

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38

Wassersug, Yolana. ""My picture I enjoin thee to keep" : the function of portraits in English drama, 1558-1642." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5935/.

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Анотація:

This thesis considers how visual art is expressed within English drama during the Elizabethan, Jacobean, and Caroline periods, through studying how portraits are used in performance and narrative. The first part of the thesis, consisting of Chapters One and Two, is concerned with the stage. It explores the range of different functions that a portrait could have in a play, and considers the challenges of bringing these objects onto the stage. The following three chapters make up the second part of the thesis; which shifts focus from the way portraits were used on stage as signifiers, to a consideration of what they signify. Chapter Three explores how characters use portraiture to promote their identity and advertise individuality. It argues for a re-thinking of the significance of ‘life-like’ painting, arguing that portraits can be markers of identity even without necessarily capturing likeness accurately. Chapter Four is about the functions that portraits have as love tokens and within courtship narratives, arguing that they expose the often-flimsy distinction between lust and love. The final chapter addresses the magical and metaphysical aspects of portraiture, and considers their role in witchcraft and murder narratives, but also their metaphorical potential to ‘hold’ the soul of the person that they depict, and therefore function as commemorative objects.

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39

Kung, Sze-chung Charles, and 龔詩宗. "Cinema park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983388.

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40

Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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41

Rosewell, Susan Tilden. "Examination of Narrative Point of View Through Production by Two Media." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500621/.

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Анотація:

Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

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42

Main, Sarah. ""Enacting the Story of Her Life": The Written Legacies and Enduring Mis/Perceptions of Zelda Fitzgerald." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564749555581709.

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43

Nassimbeni, Francesco. "Picture-making through performance - experiments in visual dramaturgy." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25424.

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This dissertation attempts to draw parallels between my process as a graphic artist and my process as a theatre-maker. The study has been prompted by my discovery of theatre-practitioners whose graphic art practices preceded and suffused their subsequent performance works and my desire to trace the antecedents of this phenomenon. The dissertation charts the movement from art to performance as exemplified by the Futurist and Bauhaus schools who devised a poetics of abstraction for the theatrical stage. Drawing on the theoretical frameworks and modes of practice developed by artists associated with these historical movements, I identify attributes of my own works that function in similar ways. I then go on to link my practice to the concept of the postdramatic as outlined by Hans-Thies Lehmann, with a specific focus on how visuality operates in postdramatic performances. I conclude by articulating the artistic and creative principles that will inform my final production in 2017.

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44

Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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45

O'Skea, Sean. "Indiana encore : history and preservation of eastern Indiana's historic theaters." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133729.

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46

Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.

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47

Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.

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48

McClary, William Michael. "Pictures of pictures and marks /." Online version of thesis, 1991. http://hdl.handle.net/1850/11637.

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49

Swami, Sanjeev. "Dynamic marketing decisions in the presence of perishable demand." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34631.pdf.

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50

Yan, Kwan-shing. "Management science : quenes in cinemas /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18024646.

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