Dissertations / Theses: '1930s Motion Pictures'

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黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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Ginoza, Naomi. "Dissonance to affinity an ideological analysis of Japanese cinema in the 1930s /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481660571&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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He, Xin 1970. "Chinese Leftist Urban Films of the 1930s." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278723/.

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Brown, Tom. "From intimate pleasures to spectacular vistas : musicality and historicity in French and American 'classical' cinema of the 1930s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1119/.

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This thesis considers the role of spectacle in two modes of filmmaking in the French and American 'classical' cinemas of the 1930s. I examine the relationship of spectacle to the emotions and drama of musical films, and to the 'history-telling' of biopics, war films and other genres of historical cinema. One reason for the comparison is the hegemonic position of classical Hollywood cinema in film scholarship. Although I am respectful of the insights offered by the concept of a 'classical' cinema, a more central motivation for this study is the failure of much criticism to account for the relationship of spectacle to a concept denoting an unobtrusive, self-effacing style. An introduction is followed by a chapter surveying key literature in the field, focusing in particular on work on classical French and American cinema, cinematic spectacle and filmic, particularly generic, categories. The second chapter is divided roughly in two. The first half examines the various theatrical roots of French and American musical films of the thirties. The second half examines the 'utopian' feelings (Dyer, ([1977] 1992) musical spectacle serves. This division uncovers the greater ambivalence of French musical films, and their more circuitous approach to spectacle. Chapter three examines historical films through categories inspired by the work of Friedrich Nietzsche ([1874] 1983). I examine the prevailing 'monumental' approach to historical subjects, but also two key varieties of spectacle: the 'spectacular vista' and the 'decor of history'. I conclude by reflecting on the possibility of a critical historiography within French and American film of the thirties. Though the balance of my attention favours French examples in the chapter on musical films, my intention throughout is to compare and, where fruitful, contrast the two national cinemas. The thesis develops theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible of the practice of close textual analysis. This is my central method of investigation. I attempt, throughout, to place the examination of films within their wider historical, industrial and critical contexts.

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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.

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Phillips, Alastair. "City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.

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Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.

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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

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Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.

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Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.

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Walsh, Lau Man Yee Eliza. "In search of identity : Hong Kong as seen through its cinema from the 1950s to the early 1980s /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17312048.

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Tohline, Andrew M. "“Around the Corner”: How Jam Handy’s Films Reflected and Shaped the 1930s and Beyond." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1248295030.

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Goode, Ian. "Voices of inheritance : aspects of British film and television in the 1980s and 1990s." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/35838/.

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During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.

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

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Yeung, Chun. "The colour spectrum : radical (mis)representation as identity construction in HK cinema from 1970s to the present." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1180.

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Walsh, Lau Man Yee Eliza, and 劉敏儀. "In search of identity: Hong Kong as seen through its cinema from the 1950s to the early 1980s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213728.

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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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

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

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Siddique, Sophia Miriam. "Images of the city-nation Singapore cinema in the 1990s /." access full-text online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3054806.

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Knoell, Tiffany L. "Animating America: Warner Bros. Animation During the Depression." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1331398666.

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Poon, Ka Yan. "Co-producing a cold war cosmopolitan fantasy: collaboration and competition between Hong Kong and Japanese Cinema in the 1950s and 1960s." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/548.

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This dissertation is a study of how Hong Kong and Japanese cinema constructed an imaginary of cosmopolitanism in films for a global market through co-production during the Cold War. Co-production examined in the dissertation is not limited to co-produced films. In the mid-1950s to the late 1960s, Hong Kong and Japanese cinema had frequent contact, which included co-organizing a film festival, exchanging film talents, and adapting films. Neutral terms like collaboration and cooperation describing the interchange between Japanese and Hong Kong cinema often disguised their competition in an uneven power relationship. Focusing on the two major studios in Hong Kong, i.e., Shaw Brothers and Cathay Organization, this dissertation examines their relationship with Japanese cinema by analyzing the complex negotiations inherent throughout the collaboration.;The dissertation conceptualizes the tension between Hong Kong and Japanese cinema as a spatial struggle, in which the materiality of space played a critical role. Japanese cinema's attempts to maintain its hegemony and dominance in Asia and Hong Kong cinema's endeavors to improve its position in the hierarchy of regional and global film industries contributed to the production of space. The space of production such as the cinematic space in films, in turn, influenced the dynamic between the two cinemas. Each chapter examines different forces within the production of space with common concern on the space of production that the two cinemas competed to construct a worldview beneficial to its own respective positioning in the region and the world. The forces at work are the role of technology at the Southeast Asian Film Festival, the embodiment of Hong Kong star in the co-produced films, and the border-crossing of Japanese talent to work in Hong Kong. The dissertation argues that through co-production with Japanese cinema, Hong Kong's film industry imbued its stars and films with a fantasy of cosmopolitanism for a global market, without challenging the patriarchal family ideology of Chinese society. The spatial struggle with Hong Kong cinema demonstrates that Japanese cinema attempted to define itself as a leader in Asia while confronting the West during the Cold War.

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Yang, Jing, and 杨静. "The construction of the Chinese woman in 1990s American cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.

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Murray, Jonathan. "Local Heroics : Scottish cinema in the 1990s." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/6666/.

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This thesis takes as its starting point the fact that this period witnessed easily the highest and most consistent levels of indigenous feature film production in the history of Scottish film culture. By the end of the 1990s, many observers proposed that it was for the first time possible to talk about the existence of a 'Scottish cinema' and/or a 'Scottish film industry', where before only occasional Scottish films and/or Scottish filmmakers could be discerned. This thesis argues that the most important precipitant of Scottish cinema's unprecedented 1990s industrial expansion involved local filmmakers' pre-mediated, industrially aspirant adaptation of American cinematic precedents and working practices. The nature of this 'adaptation' was two-fold. On one hand, it was institutional, relating to the reformation and creation of the kind of financial, training and plant infrastructures which make feature production possible. On the other, it was creative, relating to the generic and aesthetic influences and reference points preferred by many 1990s Scottish filmmakers. This thesis presents the trajectory of the American agenda which dominated 1990s Scottish cinema within a 'Rise and Fall' paradigm. It proposes that the first half of the decade witnessed predominantly progressive local engagements, both industrially and ideologically speaking, with American film industrial and cultural practices. The latter part of the 1990s, however, was characterised by regressive misinterpretations of earlier, beneficial transatlantic appropriations. By the end of the decade, two things were clear about Scottish cinema's 1990s American agenda. Firstly, that agenda had either created or consolidated many previously lacking material conditions necessary for a sustainable national cinema. Secondly, that agenda had largely exhausted itself as a convincing blueprint for the further development of Scottish cinema.

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Norton, Elizabeth Harmon. "Monsters Like Us: Reexamining “Invasion of the Body Snatchers” Through the Decades." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849692/.

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The purpose of this paper is to examine the multiple versions of "Invasion of the Body Snatchers" in concert and determine the reason for their continued presence in the American cultural landscape. To do so I will look at the novel and four films and examine the context in which they were created. In reexamining the novel and films, a central theme begins to emerge: interiority. Fear in "Invasion of the Body Snatchers" moves from an external to an internal threat. The bodily locus of the monstrous other has been re-purposed and re-projected outward. The internal nature of the monstrous threat is displayed in the narrative’s use of production and distribution, mental health professionals, pseudo-families, and the vilification of sleep. Finally, this paper will examine the studio influence on the various films and their impact on the relative endings.

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Hogg, Anthony. "From 'Can't Buy Me Love' to 'How Deep is Your Love?' : an analysis examining key phases of development of the functions of popular music in U.K. and U.S. films of the 1960s and 1970s." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/5443/.

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This thesis aims to identify the extent to which popular music functionality in UK and US film can be regarded as a developmental process, and, in particular, the importance of the contribution of the 13-year period bounded by the films A Hard Day’s Night (Richard Lester, UK, 1964) and Saturday Night Fever (John Badham, USA, 1977) to this. It also explores salient cultural, historical and industrial factors which may have influenced development. Both these areas have been largely neglected to date. Within the period identified above, three key phases have been recognized which each contributed to specific innovations and developments. These have been labelled ‘The British Invasion Phase’, ‘The New Hollywood Alienation Phase’ and ‘The Disco Phase’. For each of these a primary film text (A Hard Day’s Night, The Graduate and Saturday Night Fever respectively) is analyzed in detail, with reference to the work of Claudia Gorbman and Jeff Smith on the principles of musical function in film. In addition, these chapters are prefaced by an examination of a further stage, ‘The Classic American Musical Phase’, covering a period of relative inactivity, in respect of developments in popular music function, prior to the ‘British Invasion Phase’. Examples of two of Elvis Presley’s films, Girls! Girls! Girls! and It Happened at the World’s Fair, are examined to illustrate why innovation was lacking at this time. As this thesis is not only concerned with what innovations occurred but also why they manifested specifically during a particular phase, individual chapters extend beyond pure film analysis into a study of crucial elements of cultural and popular music history associated with aspects of The British Invasion, New Hollywood and Disco.

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Nolan, Petra Désirée. "The cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir /." Connect to this title online, 2004. http://eprints.unimelb.edu.au/archive/00000122/.

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Ip, Wing Cheung. "Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.

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Egerton, Jodi Heather. ""Kush mir in tokhes!" : humor and Hollywood in Holocaust films of the 1990s /." Thesis, Electronic version from University of Texas Libraries, 2006. http://www.lib.utexas.edu/etd/d/2006/egertond25518/egertond25518.pdf#page=3.

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Szakonyi, Mark. "Cinema screen reflections from 1920s to present how film portryals of print journalists have affected their identities /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5982.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on month November 9, 2007) Includes bibliographical references.

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Hinchliffe, Alexander. "Contamination and containment : representing the pathologised other in 1950s American cinema." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/11021/.

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This thesis examines the complex role played by film in the maintenance of an American “self” in opposition to a series of politically and culturally defined pathological “Others” in the 1950s. I reveal how popular imagery and political rhetoric combined to link domestic “deviants” such as juvenile delinquents, homosexuals, domineering or passive mothers and drug addicts with the Communist “Other,” portraying each as essentially pathological, an insidious and sickly threat to the health of the American home and family. By analysing case-studies within a wide-reaching and inter-connected cold-war media relay, underpinned by archival research that takes in newspaper and magazine journalism, television shows, government documents and medical journals, I uncover the ways in which film helped to maintain the visibility of the disenfranchised, as well contributing to their cultural surveillance and the discursive currency of the “pathological” Other. My study exposes the politics involved in medically attaching the term “diseased” to pre-existing domestic groups, and demonstrates how a culture maintains its guard against an invisible enemy. My thesis demonstrates that, across genres, American cinema embraced socio-medical tropes and disease metaphors in narratives that aimed to delineate friend from enemy and “self” from “Other” and in this way exposed fears and tensions that simmered beneath the supposedly placid surface of the 1950s.

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Chalkou, Maria. "Towards the creation of 'quality' Greek national cinema in the 1960s." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/1882/.

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In the field of Greek film studies, the 1960's are widely seen as the heyday of the 'Old Greek Cinema' (PEK), while the binary model 'Old/mainstream' versus 'New/artistic' still dominates historical, theoretical and critical discourse on Greek film. The contribution of this thesis is that, on the one hand, it considers the 1960s under the light of the rise of 'New Greek Cinema' (NEK) and, on the other, complicates the relationship of PEK and NEK by focusing on the culture surrounding Greek cinema of the time and by exploring the continuities and interrelations between the 'Old' and the 'New'. Particular emphasis is given to the debates about 'quality' national cinema, including issues of realism, Greekness' and 'popular authenticity', the crucial contribution of state policies and institutions such as the 'Week of the Greek Cinema' in Thessaloniki and cine clubs, the establishment of international art film in the domestic market, and the emergence of a young generation of film critics and cinephiles who promoted the idea of an indigenous art-house film culture. This thesis highlights also the 'Old Greek Cinema's' attempts to raise the cultural status of commercial film and address international audiences and its subsequent openness to formal, thematic and artistic experimentation normally associated with NEK. The rise of history as a thematic concern of Greek cinema of the 1960s is another main focus of this thesis, which attempts to reveal how the Civil-War trauma, and oppositional historical perspectives (typically associated with NEK) found way in disguised forms in the narratives of mainstream films. Finally, through a close examination of the thematic and stylistic concerns of short films made in the 1960s (which include the early works of some of the major NEK figures) it demonstrates the continuity between the cinematic developments of the 1960s and the 1970s.

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McDonald, Paul. "Public bodies, private moments : method acting and American cinema in the 1950s." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/34659/.

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The thesis deals with two central issues: a) the construction of a framework for the study of film acting which places performance in a cultural context b) the cultural significance of Method acting during the 1950s with specific reference to American cinema of the period The first chapter considers the ways in which the voice and body in film acting are made meaningful in the context of beliefs about acting and personal identity. The chapter also proposes ways for situating the practical activity of film acting in a context of cultural production. The remaining chapters study the cultural significance of Method acting through separate analyses of the Method technique, style, representation of gender, and image of star performance. Readings of the Method technique and style are placed in the context of a `culture of personality', in which the significance of the Method was produced in the ways that acting signified beliefs about personal identity. The discussion of the Method style is then developed in the analysis of the ways in which the style was used in film melodramas to represent the gendered anxieties of the rebel hero. Finally, Marlon Brando's image and performances are studied for how the actor personified the meaning of the Method. Together, technique, style, gender representation, and stardom, are studied as various aspects of what is called the Method discourse.

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Copsey, Dickon. "Race, gender and nation : the cultural construction of identity within 1990s German cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1927/.

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This study offers a cultural studies reading of race, gender and nation as represented in three thematic sub-genres of contemporary German film production. The aim of this study is to demonstrate that each of these thematic sub-genres offers a unique insight into the cultural construction of a distinct, yet problematic and porous umbrella identity enjoying a particular cultural currency in post-Wall Germany. It should be noted that, in this respect, this study represents a move away from these traditional diachronic analyses of German film, which attempt a snapshot of an entire history filmic production, towards a more clearly delineated, synchronic analysis of a single contemporary moment – namely, the 1990s. The first of these thematic sub-genres concerns the ambiguous romantic narratives of the sexually autonomous yet avowedly post-feminist New German Comedy women. As a significant sub-genre of the popular New German Comedy film of the early 1990s, these films embody a clear structural reliance on the narrative norms of a classic, mainstream cinema. In contrast, the cinematic representations East(ern) Germany, past and present, incorporate a myriad of generic forms and registers in their explorations of the meaning of reunification for eastern German populations, from up-beat comic road movies to psycho-allegorical tales of internal disquiet. The third area of this study concerns itself with the representation of Turkish-German populations in 1990s German cinema. As eclectic as the cinematic representations of the East, the work of these Turkish-German filmmakers appears to offer a troubling cinematic trajectory from abused and exploited first generation Gastarbeiter to self-assured and recalcitrant street-tough Kanaksta.

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Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate female liberation through consumption. The source of difference between the cycles of teen romantic comedy is attributed to the media's attempt to position Generation Y teenagers as ideal consumers.

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Tan, Jeffery. "The Shaw Brothers' exploitation of sex in Hong Kong films of the early 1970s." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609580.

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Kvet, Bryan W. "Red and White on the Silver Screen: The Shifting Meaning and Use of American Indians in Hollywood Films from the 1930s to the 1970s." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449250157.

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Yung, Wai-kei, and 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.

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Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.

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Johnstone, Sara R. "A special relationship : the British Empire in British and American cinema, 1930-1960." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58603/.

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This project sets out to scrutinize three decades of feature length fiction films about the British Empire produced by American and British filmmakers beginning in the 1930s through to the end of the 1950s. It compares British and American film in these three decades because such a comparative study has yet to be done and situating such a study within the changing historical contexts is important to chart shifting patterns in filmmaking in these two cultures. Focusing on film narratives that favour sites of modern colonial conflict as setting, namely India, the African colonies and Ireland, the project will chart how American and British filmmakers started from significantly different positions regarding the British imperial project but came to share increasing homogeneity of approach during and after the Second World War. This thesis shows that the relationship of American and British filmmakers to the British Empire changed dramatically after the Second World War and followed political developments. The new special relationship which grew strong after the war had far reaching consequences to the colonial and former colonial nations: the way in which American and British filmmakers portrayed this transition has important implications within film history.

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Trippe, William Micah. "Where are the urban mechanics? : the case of the French city film 1926-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.

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Todd, Laura J. "Youth film in Russia and Serbia since the 1990s." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33632/.

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This thesis explores the youth film genre in Russia and Serbia since the 1990s. Youth film is not only an essential means of tracing changes in cultural perceptions about young people and their lives in the post-communist period, but I argue that the genre serves as a means of representing society as a whole. The youth film genre, as an overarching framework dictated by the age of a film’s protagonists, encompasses and adopts a wide variety of sub-genres. This flexibility in youth film allows for an innovative study of the position of one genre as part of a wider sphere of genre film-making in the post-communist period. In particular, I demonstrate that global genre theory can be used as a means to examine the different genre types that have appeared in the cinema of Russia and Serbia in the post-communist period. The film industries of both nations were required to undergo vast changes in the transition from communism to capitalism, making film genres and audience preferences more significant than before. The films I analyse in this thesis borrow extensively from Hollywood genre types, using deviations and national-cultural references to appeal to their domestic audiences. However, I also contend that genres were an important part of the film industries of the Soviet Union and the Socialist Federal Republic of Yugoslavia, and that these genre histories must be considered. My close analyses of six youth films provide the communist and post-communist context for their genre usages, placing them within a wider canon of films from particular genres. This thesis contributes not only to the understanding of the youth film genre and the different ways in which these films are made, but also to knowledge of the use of genres in recent Russian and Serbian cinema as a whole. The chapters of this thesis examine how youth films and youth audiences have become increasingly important to post-communist film industries. I demonstrate that youth film allows directors not only to depict the trials and tribulations of growing up during the transition from communism, but how these youth films often reference the suffering of adults in this period. Young people are situated in a historical limbo, between the communist past and the capitalist future, and as such become a poignant metaphor for the wider experience of transition in these two nations.

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Jones, James. ""Enter the dream-house" : evaluating the role of English cinemas in public emotion, spatial appropriation, and notions of modernity, c.1930-1960." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80921/.

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This thesis asserts the importance of cinemas as influential sites of public emotion within mid-twentieth-century England. It argues that, as institutions, they offered much more than a recreational experience, allowing the formation of emotional communities within an environment which, on an affective level, differed from many other forms of public leisure activity. It combines approaches from the history of emotions and the history of space to introduce a novel methodological approach which allows a reassessment of the role of cinemas in twentieth-century life. The intersection between space and emotion is strengthened by using the records of Mass Observation, an archive imbued with powerful emotional narratives. In conjunction with two case studies of cinemas in Brighton and Bolton, which offer vivid local perspectives on historical cinema-going, the thesis argues that cinemas allowed cinema-goers to enhance, suspend, or even invert, their emotional comportment. This was permitted within a physical environment which fostered a hazy emotionality attractive to many people wishing to escape the dominant social codes of the age, such as the much-debated "stiff-upper-lip". The thesis suggests that whilst cinema-going was a universal activity, the economies of different towns affected the types of cinemas and the emotional landscapes within. It also highlights how cinemas were caught up in contemporary debates on working-class passivity, the considerable strains affecting the emotions of the nation's youth, the face of the modern, and the value of emotional authenticity. Public emotion within the cinema auditorium was moulded by many factors, including gender, the darkness of the space, the reactions of one's fellow patrons, film taste, and the emotional ambiguity of the space. The case of mid-century cinema-going reveals how public emotion developed in England within the context of mass culture, straddling a permeable line and oscillating between the private and the communal in spaces such as the cinema, allowing people to develop and contest their sense of emotional self.

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Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.

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This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.

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Vasudevan, Ravi. "Errant males and the divided woman melodrama and sexual difference in the Hindi social film of the 1950s /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.303507.

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Davis, Blair. "The 1950s B-movie : the economics of cultural production." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.

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The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.<br>B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.<br>This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.<br>The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.

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Ehlers, Wibke. "With Pad and Pencil: Old Stereotypes in a New Form? A Comparison of the Image of the Journalist in the Movies from 1930-1949 and 1990-2004." Thesis, University of Canterbury. Political Science and Communication, 2006. http://hdl.handle.net/10092/883.

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This thesis aims to provide an insight into the stereotypical imagery of journalists on the screen and its changes in popular culture, namely in film. Much research has been done on categorising different filmic characters and on journalist in popular culture as well as in real life, but from my knowledge no comparative approach focussing on the changes in the filmic stereotypes has been undertaken yet. Therefore my literature review covers existing research on journalists in film and the various categories scholar do put these characters in. Using qualitative content analysis, namely by watching and opposing sixteen selected movies, this study aims to give some in-depth view into the question if and how filmic stereotypes have changed over the approximately seventy years that lie between the films from the first (1930-1949) and second (1990-2004) period of analysis. In eight comparative chapters this study argues that some stereotypes have changed while others remain the same. Influential factors for these changes as found in the thesis are for example history, culture and audience expectation. The reason some stereotypes do not change is that they are deeply embedded in American myth that is even harder to change than stereotypes. The thesis concludes that most journalistic figures underwent considerable changes or even disappeared with only the crusading journalist, as a mythical heroic figure, hardly changed at all.

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Melo, e. Castro Paul Michael. "Aspects of the representation of 1960s Lisbon in the novel, the photobook and film : José Cardoso Pires's Balada da Praia dos Cães, Eduardo Gageiro's Lisboa no Cais da Memória 1957-1974 and Fernando Lopes's Belarmino." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612414.

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Nolan, Petra Désiréé. "The cinematic flâneur : manifestations of modernity in the male protagonist of 1940s film noir /." Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000122.

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Johnson, Nicholas. "Eighty years on : representations of teachers and schools in British films, from 1930 to 2010." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3007/.

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Teachers are required to be reflective practitioners: that is, they must constantly assess and evaluate their performance, and its effectiveness. In addition, of course, they come under external scrutiny from government and parents. However, what of the way the public look at teachers? Teachers and schools may be read about in newspapers, comics and journals, discussed on television and the radio; they may even fall foul of social networking sites on the Internet. Popular films may be regarded as ninety-minute essays, presented dramatically for the entertainment of their audiences; the teacher or school film has been a staple of popular cinema in this country for almost eighty years. Moreover, the representations of teachers in British films have tended to retain a continuity of message despite the many changes that have taken place in education over this period. This thesis looks at those representations, and changes in education, and attempts to make connections, backed up with a philosophical approach that seeks to explain the visual turn in terms of successive orders of simulation. My hope is that new generations of teachers may reflect on the cultural heritage of which they, and their chosen profession, are very much a part.

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Nakao, Tomyo. "The representation of Japan in British POW films of the 1950s." Thesis, University of Essex, 2015. http://repository.essex.ac.uk/16055/.

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This thesis analyses the formation of images and representations of Japan in British films of the 1950s. Japan's image changed drastically during and after World War II, as knowledge of Japan's maltreatment of prisoners of war (POWs) became known. The thesis considers four films and the novels or scripts from which they were made: The Wind Cannot Read (both David Lean's and Ralph Thomas's version), A Town Like Alice, The Bridge on the River Kwai, and The Camp on Blood Island. This study shows how film became a venue for expressing untold experiences and the battle over 'proper' representations of both the POWs themselves and the Japanese Army. Japan's side is more sympathetically addressed in Lean's work; those critical of the country are represented in Alice. A film that led to greater intervention related to Japan's point of view was Kwai, aspects of which were extended, and others overturned, in a subsequent horror film (Blood Island). As further argued here, Japan as an (ex) enemy often assumes a feminine or demonised form in these texts, and sometimes blurs with the Nazi image. Generally, the West portrays the 'Other' as hostile male or available female, while Japanese women in Thomas's Wind are frequently presented as insensitive. This thesis further reveals that Japan's envoys endeavoured to present the country as a trustworthy state before the United Nations in an attempt to inhibit the circulation of negative images, while Britain, in the process of reconfiguring rapidly changing relations to its colonies and ex-colonies, tried to present itself as a new Empire with its Commonwealth. These studies of representations of Japan are examined in the context of oral histories of those who lived in the POW camps, showing how each experience interacts with the ways Japan, as the (former) captors, was represented.

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Clark, Isabel Stirling. "The challenge of being yourself adaptation, adolescence, and disguise in teenage romantic comedy films of the late 1990s and early 2000s /." Diss., Connect to the thesis Connect to the thesis, 2009. http://hdl.handle.net/10066/3614.

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Dissertations / Theses on the topic '1930s Motion Pictures'

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