To see the other types of publications on this topic, follow the link: 1980s Film.
Dissertations / Theses on the topic '1980s Film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic '1980s Film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Ghai, Tara. "Fantasy films of the 1980s." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3551.
Full textAbstract:
Fantasy films have been a part of cinema since the very beginnings of the medium. Although fantasy films can be found in every decade of the last century, the genre only became persistently successful from the late 1970s onwards. Perhaps the relatively recent prominence of fantasy goes some way to explain why the genre lacks the academic discourse that other film genres have encouraged. Another reason why fantasy has evaded considerable discussion as a genre could be because of the difficulty in defining it. Fantasy can encompass numerous types of films, and features an array of different thematic and visual styles. Previous studies examining fantasy either fail to consider the mode as a genre, or only consider a limited array of films. Using Tzvetan Todorov’s assessment of The Fantastic as a framework, this thesis examines fantasy films from the late 1970s to the early 1990s. I reassert fantasy’s position as a genre rather than a mode or impulse. Analysing a wide range of films from this period, this thesis outlines the preoccupations of the genre and identifies the various cycles and sub-genres encompassed by the term ‘fantasy’. These categories include those that concern the style of film and those that concern the intended audience. Deconstructing the fantasy genre in these sub-genres makes it more manageable to appraise the genre as a whole. Consistent patterns emerge in the examination of these films, ranging from archetypal characters to a fixation with subversion. The 1980s was a critical time for fantasy cinema as it was the first sustained period of frequent successful films. Fantasy was the most commercially successful genre of the decade; Hollywood’s output in this period still reverberates in today’s industry. Thus, the fantasy genre is most worthy of the critical discussion afforded to other genres.
2
Khoo, Gaik Cheng. "Gender, modernity and the nation in Malaysian literature and film, 1980s and 1990s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48666.pdf.
Full text
3
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/.
Full textAbstract:
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.
4
de, los Reyes Vanessa. "From Conformity to Protest: The Evolution of Latinos in American Popular Culture, 1930s-1980s." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505205872234436.
Full text
5
Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.
Full textAbstract:
Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se examinar diferentes representações da
adolescência no cinema de Hollywood, particularmente na década de 80. Esta
dissertação inicia a sua análise debruçando-se sobre as representações da
adolescência no cinema de Hollywood, no período após a II Guerra Mundial,
numa tentativa de determinar alguns acontecimento que afectaram a forma
como essas representações evoluíram até ao final da década de 80.
Finalmente, uma reflexão sobre os aspectos mais relevantes das
representações da adolescência no cinema na época conservadora de Ronald
Reagan.
ABSTRACT: This present study aims to examine different representations of American youth
in Hollywood film, particularly in the 1980s. This dissertation begins with an
examination of some representations of American youth after World War II in
an attempt to investigate the trends which affected its representations and how
they have evolved from then until the end of the 1980s. Finally, it offers some
detailed reflections on depictions of adolescence in Hollywood film during the
Reagan years.
6
Price, Thomas. "A Cauldron of Chaos and Cultivation: Rediscovering Disney Animation of the 1980s." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/7.
Full textAbstract:
This thesis examines the four transitional Disney animated features of the 1980s The Fox and the Hound (1981), The Black Cauldron (1985), The Great Mouse Detective (1986), and Oliver and Company (1988)— in order to reassess the significance of this period in Disney history. The Walt Disney Studio is internationally hailed for its animated features produced over the last eight decades, however, the animated films released in the 1980s have been ignored and neglected due to the negative evaluations of scholars and historians who favor Walt’s era and the 1990s renaissance period. A closer examination of the films reveals that Disney was not in a dark age but one of experimentation, excisement, and exploration in contrast to the perceived notions. Each film contributed to Disney animation’s return including a generational shift in creativity, application of computer animation, casting a celebrity as a voice-artist, and the use of theme songs and popular singers. These contributions were technically, thematically, and aesthetically important in reframing Disney’s animated products for future audiences leading to the 1990s successes beginning with The Little Mermaid.
7
Maltezos, Chris Steve. "The Return of the 1950s Nuclear Family in Films of the 1980s." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3230.
Full textAbstract:
Abstract
In the 1980s the cinematic nuclear family flourished again after the self-explorative 1960s and turbulent 1970s. This thesis explores the portrayal of the idealized American family in film between the 1950s and 1980s. The 1955 film Rebel Without a Cause reflects the 1950s cinematic family model. My investigation includes the role of the father figure and the bonds in intergenerational relationships. During the early 1980s, films such Ordinary People and ET: The Extraterrestrial reflect the need to reevaluate the 1950s ideal nuclear family. My examination of these films continues to include the importance of the father figure and bonds between child and parents along with contemporary elements such as the use of psychiatry and rise of single-parent households. These movies' redefined portrayals of the idealized nuclear family represent the shifting dynamics of modern society in terms of single-parent households and highlighted importance of intergenerational relationships.
8
Kempton-Jones, Jessica. "“Tell me about it, Stud”: Queering the Dancing Male Body in Musical and Dance Films of the 1970s and 1980s." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33830.
Full textAbstract:
Heterosexuality is coded on-screen in many musical films from the last century as a “celebratory ideal.” 1 This thesis explores the queer possibilities of the so-called heterosexual male in three films spanning a decade from 1977 with Badham's Saturday Night Fever and Grease (Kleiser, 1978), to 1987's Dirty Dancing (Ardolino). Each of the films I have examined foreground heterosexual romance. However, by looking at the male body in these films I have argued for the ways in which the male, dancing body works against these films' assertion of a narrative heterosexuality. I have shown how these films can be read as queer by the way they highlight the performativity of the male body, and through their camp aestheticism which complicates normative ideas about desire, sexuality and gender. I interrogate claims emerging from work in musical genre theory, which describes the musical as “the most heterosexist of all the Hollywood filmic forms.”2 By examining existing theory on the role of the camp sensibility within musical film I argue that there are ways that the musical films analysed dismiss their narrative heteronormativity and instead mark themselves as queer. The films do this by aligning the performativity of dance with the queer discourse that uses as its cornerstone the notion of the performativity of gender and sexuality. I have argued that these films portray an embattled masculinity coming to the fore within society (and cinema) in the 1970s, into the 1980s. The chapters in this thesis are organised according to the analyses' of the three films. The chapters explore themes of camp aesthetics by understanding camp's tendency to disrupt the clear disparities between ‘being and seeming'.
9
Atakav, Atil. "The representation of women in Turkish cinema in the 1980s." Thesis, Southampton Solent University, 2009. http://ssudl.solent.ac.uk/774/.
Full textAbstract:
This thesis examines the relationship between feminism and cinema in the context of the women's movement and women's films of the 1980s. In focusing on the nature and implications of the representation of women constructed in Turkish cinema and the issues addressed by the women's movement, it argues that there are connections to be made on an analytical and theoretical level between the two sets of practices. The thesis argues that the enforced depoliticisation introduced after the coup (on 12th September 1980) by the incoming military government is responsible for uniting feminism and film. First, the feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on women's issues and lives in order to avoid the overtly political. Secondly, women's films of the 1980s do not merely reflect a unitary patriarchal logic but are also sites of power relations and political processes through which gender hierarchies are both created and contested. The films of the 1980s empower women by dealing with women's issues and representing them as strong characters; however, at the same time they marginalise and objectify women with their cinematic style. turkish cinema reveals powerful cross-currents producing complex and often contradictory effects, acting both to reinforce and to mitigate against the manifestations of male dominance in different narratives and contexts. However despite these complexities, gender asymmetry in Turkish society is produced, represented and reproduced through filmic texts. There has been very little scholarly work done on the representation of women in Turkish cinema in the 1980s. The existing resources not onlylack focus on the shifts in the representation of women within socio-political context, but also fail to make a strong link between feminism and cinema. Moreover, in resources under scrutiny there is no sustained focus on mise-en-scene. The aim of this thesis is to fill this gap and explain the changes in the cultural, the social and the political, while linking feminism and cinema by examining films using close textual analysis.
10
Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.
Full textAbstract:
The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.
11
McGonagle, Joseph M. "Representations of ethnicity in French film and photography since the 1980s." Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557128.
Full textAbstract:
Via an interdisciplinary framework that draws upon post-structural, post-colonial and feminist theories, this thesis considers representations of ethnicity in French film and photography since the 1980s. Very few studies of the representation of ethnicity in French photography have been undertaken and French film and photography are seldom analysed together. The corpus of images discussed is diverse. Each chapter contrasts examples of photographic practice with film within France. Chapter One considers how national identity has been pictured within France. Chapter Two analyses the representation of an important regional centre: France's second city, Marseilles. Chapter Three examines the parameters of Jewishness within French film and photography. Chapter Four explores how women of Algerian origin have been portrayed since 2000. Recurrent themes are found regardless of the genre, medium or ethnicity in question. Important differences are highlighted between representations of France's white majority and ethnic minorities, and within these groups according to gender, sexuality, age and social class. I conclude that ethnicity has remained a crucial and contentious subject within French film and photography throughout the last twenty-five years and that further such studies are now needed.
12
Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.
Full text
13
Ben, Mna Ilias [Verfasser]. "Echoes of Reaganism in Hollywood Blockbuster Movies from the 1980s to the 2010s." Berlin : Humboldt-Universität zu Berlin, 2021. http://d-nb.info/1227300867/34.
Full text
14
Fox, Albertine. "Acoustic Spectatorship : The 1980s Film and Video Work of Jean-Luc Godard." Thesis, Royal Holloway, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694227.
Full textAbstract:
This thesis focuses on some of Godard’s most complex, innovative and daring experiments in sound design in a selection of key films and videos made predominantly during the 1980s. It charts Godard’s evolving experiments with live, electronic and pre-existing music, as well as his manipulation of voice, texture, spatiality and speed alteration. It aims to advance a theory of ‘acoustic spectatorship’, a term I have coined to establish and convey the depth and significance of the spectator’s experience of film through sound and the sense of hearing. The thesis develops an approach to Godard’s films from the perspective of sonic art, arguing that an emphasis on the active process of listening enables the spectator to perceive more fully the multileveled and multifaceted experiences that the chosen films and videos provide. It foregrounds Godard’s extraordinary sensibility to sound and his persistent efforts, which often go unheeded, to challenge the ingrained assumption that film is primarily a visual medium. The thesis will explore the expressivity of acoustic phenomena in a range of commercial feature films, video scenarios, short films and videos, along with a CD soundtrack release, engaging with Godard’s approach to film history, his conception of projection and his theory of montage. The close analysis performed in each chapter will be supported by a plural and interdisciplinary methodology. It draws on different intellectual and artistic disciplines, including musicology, sound theory, film theory, as well as writings by composers, writers, philosophers and poets, underpinned by the crucial discoveries of sound engineer Pierre Schaeffer, especially his fundamental concept of the acousmatic condition. By prioritizing the acoustic experience of the film spectator, this thesis constructs a new means of perceiving Godard’s 1980s film work, which, in turn, calls for a reassessment and redefinition of the very notion of spectatorship itself.
15
Gadsden, Cynthia A. "Artforum Basquiat, and the 1980s." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217965257.
Full text
16
Warwick, Harry. "The aesthetics of enclosure : dystopia and dispossession in the 1980s Hollywood science-fiction film." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427159/.
Full textAbstract:
As an increasing body of historical and economic scholarship attests, the processes Marx placed under the heading of 'primitive accumulation', and which he saw as the precondition of capitalism, continue today in a particularly intense form. If Marx's main example in Capital, Volume 1 (1867) was the enclosure of English land from the late fifteenth century, now scholars can point to the expansion of intellectual property rights, the privatisation of water and other public services, the sale of the US national forests, the imposition of 'structural adjustment programmes', and the war in Afghanistan as so many 'new enclosures'-efforts to bring ever greater zones of human activity within the ambit of capitalist production. Yet what remains unexamined in this still-growing literature is how the new enclosures have been represented in the sphere of culture. Have cultural forms been able to register these new expropriations? If so, how have they depicted a process that is pervasive, but whose forms of appearance are so diverse? This thesis endeavours to answer such questions through the analysis of five major Hollywood science-fiction films of the 1980s: Ridley Scott's Alien (1979) and Blade Runner (1982), David Cronenberg's Videodrome (1983), and Paul Verhoeven's RoboCop (1987) and Total Recall (1990). It argues that, taken together, these films develop an 'aesthetic of enclosure': a series of representational strategies that make enclosure visible. Typically understood by scholars as a critical and historicising genre, the science-fiction film is well positioned to detect, examine, and challenge capitalism's renewed efforts to privatise and dispossess.
17
McKenna, Susan E. "Seeing Lesbian Queerly: Visibility, Community, and Audience in 1980s Northampton, Massachusetts." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/102/.
Full text
18
Kim, Ju Young. "Rethinking media flow under globalisation : rising Korean wave and Korean TV and film policy since 1980s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1153/.
Full textAbstract:
The rising popularity of Korean contents in Asia known as Hanryu ('Korean Wave'), which was partly supported by Korean cultural policy, has many implications with regard to cultural policy in periphery countries under globalisation and the open-door versus cultural diversity debate. This thesis assesses how recent cultural opening under globalisation in Korea has affected Korea's cultural industries both quantitatively in terms of economic performance and qualitatively in terms of cultural content, identity and diversity. These questions are examined in the context of the changing relationship between the cultural industries and cultural policy in Korea since the end of the 1990s. The research draws upon statistical data, historical material and interviews. By researching how the Korean experience has developed, this thesis attempts to look at Hanryu not just as a phenomenon in its own right, but also considers the secondary impact of this phenomenon on perceptions of culture and identity. In particular the thesis considers Hanryu in terms of the cultural influence on neighbouring countries manifest through tourism and a new interest in Korean language and culture. Such cultural effects are less easily measured than economic data but are important to an understanding of causes and effects of Hanryu. Finally this thesis places the Korean experience in the broader context of cultural policy in periphery countries responding to globalisation and the relationship between national cultural policy and the global cultural economy. It is still too early to reach conclusions on the future of Korean cultural industries based simply on the recent trends However, since the mid 1990s, the Korean cultural industries have been transformed dramatically. Cultural policy has contributed to this trend and strengthened the competitiveness of Korea's cultural industries. At the same time the thesis considers some of the limitations and criticisms of Hanryu, including potential loss of cultural diversity and an anti- Korean backlash in some other Asian countries. The Korean cultural industries have benefited from imitating the Hollywood system and developing a distinctive hybrid cultural content and business model. This has made possible an alternative approach to policy and management which lies between two extremes of protectionism and free market ideology. The thesis comments on some of the difficulties and limitations in sustaining such a balance and concludes by considering the sustainability of Hanryu both in Korea and in the broader Asian context.
19
Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.
Full text
20
Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.
Full text
21
Scherzer, Philipp. "Is German film moving towards a "New Patriotism"? : an analysis of Sönke Wortmann's The Miracle of Bern based on the prototype of the American sports film of the 1980s /." Hamburg : Diplomica-Verl, 2008. http://d-nb.info/989997081/04.
Full text
22
Mindich, Brad. "Reflecting on the Past, Understanding the Present, and Controlling the Future| Pre-Nostalgia and Its Impact on Memory, Temporality, and Identity as Represented in Classic Films from the 1980s." Thesis, Dartmouth College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10189805.
Full textAbstract:
<p>Pre-nostalgia exists at the intersection of identity, memory, and temporality. The core difference between what is understood to be a nostalgic feeling versus a pre-nostalgic feeling comes from the individual?s motivation to act due to an instantaneous awareness of, or concern with, missing something at the exact moment of loss and prior to the creation of a recallable memory. The degree, scope, and nature of the motivation and the thing being missed are specific to the individual at that moment in time, and the catalyst for this awareness and its subsequent behavior is primarily due to an engagement with a cultural object. The types of cultural objects in question are almost infinite ? music, film, cars, art, or another individual, among many others. This immediate connection with the object triggers a response from the individual that causes what I have described as a conscious or subconscious temporal compression and a newfound awareness of the perceived distance and proportion between this experience/awareness and the individual?s past, present, and future, and their understanding of their sense of self.
This thesis seeks to explore and demonstrate the existence of this virtually undocumented phenomenon via two analytical and interrelated processes. First, I draw on psychoanalysis, philosophy, and nostalgia theory as foundational disciplines to document an academic structure of pre-nostalgia. Second, using the medium of film as a cultural object, I apply my research to identified characters, scenes, and soundtracks from several films from the 1980s to objectively demonstrate the manifestation of this phenomenon. The purpose of this dual analytical approach is to provide both spectators and evaluators of this theory an environment in which to objectively observe and understand what I believe is an intrinsic phenomenon, and my overarching goal is to advance the academic and practical discussion of memory and nostalgia theories.
23
Scherzer, Philipp. "Is German film moving towards a "New Patriotism"? An analysis of Sönke Wortmann's The Miracle of Bern based on the prototype of the American sports film of the 1980s." Hamburg Diplomica-Verl, 2007. http://d-nb.info/989997081/04.
Full text
24
Mazey, Paul Adrian. "British Film Music, 1930s-1950s." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730833.
Full text
25
Holdsworth, Claire. "History has tongues : re-evaluating historiography of the moving image through analysis of the voice and critical writing in British artists' film and video of the 1980s." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/10771/.
Full textAbstract:
This thesis examines experimental film and video in 1980s Britain through a critical reassessment, mapping histories of these practices in relation to critical writing of the period. This historiographical analysis utilises material contained in The British Artists’ Film and Video Study Collection, part of the Museum at Central Saint Martins (UAL). Close analysis of a number of selected film and video works created within the artistic, activist and experimental communities active at the time both develops the thesis’ function as a new account of the period and provides a critical means of surveying historiography within the field of artists’ moving image. This study establishes the voice as a key theme in relation to both constructed narratives in historiographical writing and in works from this time. Employment of oral, primary source accounts frames analyses of voices in preexisting written histories and acts as a means to explore aural strategies and components within film and video works. Initial analyses of ‘historical recovery’ before, during and after the 1980s is followed by first considering how stories are recounted by voices, before investigating works that responded to events at the time and exemplified the struggles of voices during this significant period in British history. Focus on the voice frames a critical exploration of lexicons related to ghosts which appears later in the thesis. Jacques Derrida’s lecture and publication Specters of Marx (1994) is referenced to develop discussion of ghosting in relation to myths and historical sources in analysis of Ken McMullen’s Ghost Dance (1983), in which Derrida muses on ghosts and recording. An exploration of recording technologies and media informs a critique of writing history in order to reflect upon British film and video of the 1980s. It identifies a cacophony of voices – political, critical, activist and artistic – as characteristic of the times and a key element in the composition of the works and historical accounts of the moving image.
26
Lynch, Paul. "The development of the British conspiracy thriller, 1980-1990." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18180.
Full textAbstract:
This thesis adopts a cross-disciplinary approach to explore the development of the conspiracy thriller genre in British cinema during the 1980s. There is considerable academic interest in the Hollywood conspiracy cycle that emerged in America during the 1970s. Films such as The Parallax View (Pakula, 1975) and All the President's Men (Pakula, 1976) are indicative of the genre, and sought to reflect public anxieties about perceived government misdeeds and misconduct within the security services. In Europe during the same period, directors Costa-Gavras and Francesco Rosi were exploring similar themes of state corruption and conspiracy in films such as State of Siege (1972) and Illustrious Corpses (1976). This thesis provides a comprehensive account of how a similar conspiracy cycle emerged in Britain in the following decade. We will examine the ways in which British film-makers used the conspiracy form to reflect public concerns about issues of defence and national security, and questioned the measures adopted by the British government and the intelligence community to combat Soviet subversion during the last decade of the Cold War. Unlike other research exploring espionage in British film and television, this research is concerned exclusively with the development of the conspiracy thriller genre in mainstream cinema. This has been achieved using three case studies: Defence of the Realm (Drury, 1986), The Whistle Blower (Langton, 1987) and The Fourth Protocol (MacKenzie, 1987). For each case study chapter, interviews have been conducted with the film-makers in order to gain insight into the aims and motivations that underpin each film. As well as employing these first-hand accounts of the production contexts, close analysis of film style is provided in order to understand the ways in which the British genre is informed stylistically by its Hollywood and European forebears. This means that for the first time, the British conspiracy cycle can be understood within a wider historical and cinematic context. Detractors of the conspiracy genre argue that it offers audiences a simplistic view of complex political events. We will reflect on this criticism and evaluate the extent to which the British films provide meaningful political comment within the conventions of mainstream cinema.
27
Kontour, Kyle, and n/a. "Making culture or making culture possible : notions of biculturalism in New Zealand 1980s cinema and the role of the New Zealand Film Commission." University of Otago. Department of Communication Studies, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.140943.
Full textAbstract:
In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in which this desire was manifested was in the establishment of the New Zealand Film Commission (NZFC). This government sponsored body corporate was designed to provide an infrastructure for New Zealand filmmaking, through which New Zealand and New Zealanders could be represented. As a result, New Zealand filmmaking boomed during the early to mid-1980s. Significantly, this boom occurred simultaneous to the increasing relevance and importance of notions of biculturalism, both in cultural and socio-political terms.
The question that drives this thesis is how (or whether) biculturalism was articulated in the explicit or implicit relationships between cultural debates, governmental policies, the NZFC�s own policies and practices and its interaction with filmmakers. This thesis examines the ways in which aspects of the discourse of biculturalism feature in New Zealand cinema of the 1980s in terms of the content, development, production and marketing of three films of this era that share particular bicultural themes and elements: Utu (Geoff Murphy, 1983), The Quiet Earth (Geoff Murphy, 1985) and Arriving Tuesday (Richard Riddiford, 1986). This thesis also examines the role of the NZFC in these processes as prescribed by legislation and in terms of the NZFC�s own policies and procedures.
This thesis consults a variety of primary and secondary sources in its research. Primary sources include film texts, public documents, archival material, trade journals, and interviews with important figures in the New Zealand film industry.
Conclusions suggest that the interaction of numerous socio-historical factors, and the practices and policies of the NZFC, denote a process that was not direct in its articulation of notions of biculturalism. Rather, this involved an array of complex cultural, fiscal. industrial, professional and aesthetic forces.
28
Memola, Giovanni. "Leaden Italy, Lost Italy : a cross-cultural (re)assessment of the Italian crime film in the years of terrorism and social unrest (1969-early 1980s)." Thesis, University of Winchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698195.
Full textAbstract:
This thesis examines the generic body of a vast group of commercial crime films produced in Italy during the anni di piombo or Leaden Years, a time peculiarly marked by widespread episodes of political violence and tragic facts of terrorism (1969-early 1980s). These films achieved resounding success at the national box-office by conjugating the aesthetic of foreign crime films and formulas with clear references to the grim and violent Italian reality. The aim of this thesis is to assess how, and to what extent, problems and concerns associated with contemporaneous historical events had effectively influenced their production and consumption as well as their generic identity. In contrast with traditional (and prevailing) critical accounts, this thesis contends that these films and their generic images are less concerned with terrorism and related political extremism than they are with other contemporaneous social events, such as the reigniting of culturally deep-seated regional tensions, and the crisis of a national benchmark such as the patriarchal family. In discussing this point, this thesis provides a thorough historical contextualization of the Leaden Years which does not rest exclusively on political-terrorist issues, but takes into account other topical social problems, as well as reconstructing the cultural and political-ideological complexity that marked this era. Arguments in support of this thesis have been crucially elaborated through referencing historiographical material and critical sources mostly from Italy, in an attempt to further provide the examination of these films and of their generic identity with an Italian critical and cultural perspective to date scarcely represented in the Anglo-American film studies upon which the theoretical body of the Italy crime film is prevalently built.
29
Avrutin, Lilia. "The semiotic anthropology of Soviet film culture, 1960s-1990s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34731.pdf.
Full text
30
Higbee, William Edward. "Marginality and ethnicity in French cinema of the 1980s and 1990s." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364416.
Full text
31
Rossi, Samuel E. "Reagan, Rambo, and the Red Dawn." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180975486.
Full text
32
Sotomayor, Hector. "He_rtland: The Violence of Neoliberalism." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/6027.
Full textAbstract:
Perhaps, under the consciousness of today, “neoliberalism” has defined our world during the previous and current centuries more than any other socioeconomic system. But the evolution of this ideology, which initially aimed to enhance, or rather, reinvent capitalism and individual freedom, has, in essence, induced an unrecognized problem. I argue that neoliberalism is the catalyst for much of the hostility in this globalized society where tensions and poverty are casualties of individual and corporate prosperity. Because of this revelation, I argue that neoliberalism inadvertently instills violence that is both unseen and gendered. In order to formulate my argument, I introduce a historical chronology to the ideological origins of neoliberalism and how it manifested its way to its socioeconomic prominence. I then concentrate my attention to neoconservatism, most notably, Reaganism, with the year 1984, which I feel is the official christening of neoliberalism. From that year, I bring forth, three films about the crisis of farming in the 20th century, Country, Places in the Heart, and The River. Through these “farm crisis films,”which centers their themes around pastoral virtues, I argue that the violence conveyed in these films critiques neoliberalism. On the surface, these films demonstrate violence through an invisible and unrecognizable antagonist. But at the heart of this violence is a gendered angle that has much more to do with neoliberalism than with feminist debates. The gendered violence of neoliberalism is, in actuality, linked to the characters’ struggle to maintain some sense of autonomy, but this possibility is always uncertain because of their failure to recognize their inevitable interdependencies.
33
De, Melo Anthony. "Film and Fado in Portugal from the 1930s to the 1950s." Thesis, King's College London (University of London), 2013. https://kclpure.kcl.ac.uk/portal/en/theses/film-and-fado-in-portugal-from-the-1930s-to-the-1950s(5df73290-d5dc-4cf8-bd6d-1cede69cdbec).html.
Full textAbstract:
A popular urban song, fado has been the subject of highly contested debates in Portuguese politics and culture. This dissertation examines the representation of fado in the Portuguese cinema of the 1930s and 1940s, concentrating primarily on the popular comedies, dramas and rural-folkloric films. These decades witnessed the establishment of the Estado Novo (New State) (1932-1974) government of António Salazar, the promotion of fado as the national song, and the song’s prominence in the theatre, radio, and in film. It is generally accepted that this period in Portuguese cinema was complicit with the ideological values of the dictatorship. Critics of Portuguese cinema have identified fado as a prominent feature in the films, noting that the song’s position as the national song is reason enough for its presence, yet there has been no critical discussion examining fado's representation in these films. In this dissertation, I concentrate on Portuguese cinema’s negotiation with fado’s history and traditions, and the mise-en- scène of performance, place, and iconography. As this dissertation will show, in the 1930s and 1940s, fado and film were negotiating a position between the popular and the political, and that while the films have conservative elements, they nonetheless offer up contradictory representations that do not warrant the generally unfavourable critical view of a cinema in step with a dictatorship. This is due largely to the enduring legacy of fado’s transgressive history leading up to 1930.
34
Bergfelder, Tim. "The internationalisation of the German film industry in the 1950s and 1960s." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297478.
Full text
35
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/.
Full textAbstract:
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.
36
DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.
Full textAbstract:
The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.<br>Romance Languages and Literatures
37
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.
Full textAbstract:
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.
38
Hodgson, James Neil. "Male homosexuality in Brazilian cinema of the 1960s and 1970s." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/male-homosexuality-in-brazilian-cinema-of-the-1960s-and-1970s(d1678b48-5d3c-47fa-9a06-b4b0d72ed49b).html.
Full textAbstract:
The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.
39
Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.
Full textAbstract:
Thesis (M.A.)--University of Kentucky, 2002.<br>Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).
40
Shaw, Caitlin. "Remediating the eighties : nostalgia and retro in British screen fiction from 2005 to 2011." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11153.
Full textAbstract:
This doctoral thesis studies a cycle of British film and television fictions produced in the years 2005-2011 and set retrospectively in the 1980s. In its identification and in-depth textual and contextual analysis of what it terms the ‘Eighties Cycle’, it offers a significant contribution to British film and television scholarship. It examines eighties-set productions as members of a sub-genre of British recent-past period dramas begging unique consideration outside of comparisons to British ‘heritage’ dramas, to contemporary social dramas or to actual history. It shows that incentives for depicting the eighties are wide-ranging; consequently, it situates productions within their cultural and industrial contexts, exploring how these dictate which eighties codes are cited and how they are textually used. The Introduction delineates the Eighties Cycle, establishes the project’s academic and historical basis and outlines its approach. Chapter 1 situates the work within the academic fields that inform it, briefly surveying histories and socio-cultural studies before examining and assessing existing scholarship on Eighties Cycle productions alongside critical literature on 1980s, 90s and contemporary British film and television; nostalgia and retro; modern media, history and memory; British and American period screen fiction; and transmedia storytelling. Chapter 2 considers how a selection of productions employing ‘the eighties’ as a visual and audio style invoke and assign meaning to commonly recognised aesthetic codes according to their targeted audiences and/or intended messages. Chapter 3 investigates semi-autobiographical dramas that bear the mark of remembering, from the vantage point of the present, a time of fast expansions and shifts in the global media landscape. Chapter 4 explores how historical fictions locate historical knowledge in the decade’s refraction through modern media and reconstruct, deconstruct or ironise these mediations to meet particular cultural or industrial demands. Chapter 5 identifies two spin-offs that exploit shifts toward transmedia production and distribution by using eighties iconography as the set pieces for an immersive fantasy world, considering how and why their source texts are adapted and what this implies for past representation. Finally, the Conclusion reviews the project’s findings and briefly considers possible factors for the cycle’s deceleration and transformation after 2011. Ultimately, this project sees the Eighties Cycle as a by-product of shifts in Britain toward advanced globalisation and new mediation that have facilitated access to domestic and international mediated recent pasts. These productions operate within a distinct recent-past period screen fiction mode, engaging audiences equipped with comprehensive notions of the eighties as circulated in media. Meaning is produced in how these notions are structured; sometimes they are lauded, sometimes parodied, sometimes criticised or ironised, and sometimes they are simply cited for the sheer pleasure of recall.
41
Treglia, Laura. "Guerrilla girls : rebellious women of the Japanese 1960s-1970s 'pinky violence' films." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702934.
Full text
42
Snoyman, Natalie. ""In to Stay" : Selling Three-Strip Technicolor and Fashion in the 1930s and 1940s." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-146279.
Full textAbstract:
This study investigates the relationship between the fashion and film industries during the classical era between the early 1930s and mid-1940s. It focuses on the three-strip Technicolor process as the binding force upon which these two industries relied in collaborations during that time and looks at technical challenges the new process presented to productions in terms of wardrobe design. Another issue explored is fashion’s role in the actual development of the three-strip process, allowing the Technicolor laboratory to improve the technology through a popular, marketable, and readily available product. Using Technicolor as a point of focus and continuity, this dissertation explores different types of productions filmed in the three-strip process, including shorts and newsreels, industrial and sponsored films, as well as feature-length films. Drawing from a wide range of archival material and a highly interdisciplinary approach, the study delves into the relationship between the fashion and film industries. While the ties between them have been strong since the advent of cinema, previous research has approached their relationship almost exclusively from a promotional perspective. Technicolor’s multifaceted affiliation with the fashion industry, however, warrants a more thorough investigation and this dissertation takes steps towards expanding that research area through a series of case studies. The first chapter provides an overview of color film methods that preceded three-strip Technicolor and outlines some of the key discourses involving color and realism. Chapter 2 addresses the intertwined relationship between the fashion and film industries through a study of fashion department in the popular fan magazine Photoplay and also examines the use of color in that publication. Chapter 3 investigates the fashion short as a vehicle for demonstrating the commercial potential of the three-strip process. It does this by examining the making and promotion of Vyvyan Donner’s Fashion Forecast series. This chapter also looks at the specific work carried out by Technicolor’s Color Control Department. Chapter 4 explores industrial and sponsored films in three-strip Technicolor for the fashion industry with an emphasis on those made to promote rayon. The second half of this chapter examines the 1930/1940 seasons of the New York World’s Fair, focusing on the presence there of Technicolor and the American rayon industry. Lastly, Chapter 5 looks at three-strip Technicolor in feature-length films by considering its collaborations with the fashion industry that took place in the classical era. This chapter also examines design considerations made regarding wardrobe in those films. The study concludes that color’s versatility made it incredibly influential on consumer culture and was key to ventures between the fashion and film industries in this era and beyond. It also ultimately demonstrates the ways in which color, fashion, and film intersected and complemented one another in terms of their aesthetic and commercial commonalities.
43
Clark, Caroline Clayton. "Film Families: The Portrayal of the Family in Teen Films from 1980 to 2007." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2699.pdf.
Full text
44
Johan, Adil Bin. "Articulating a nation-in-the-making : the cosmopolitan aesthetics of Malay film music from the 1950s to 1960s." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/articulating-a-nationinthemaking(b536d96b-536c-466e-831c-7ce8feb64738).html.
Full textAbstract:
This thesis provides an in-depth study of the ‘Golden Age of Malay Film’ (1950s to 1960s) by analysing the musical practices and discourses of commercially-produced vernacular Malay films. In exploring the potency of such films and music, it uncovers the relevance of screened music in articulating the complexities and paradoxes of a cosmopolitan Malay identity within the context of mid twentieth-century capitalism, late British colonialism and Malaysian and Singaporean independence. Essentially, I argue that the film music produced during this period articulates a cosmopolitan aesthetic of postcolonial nation-making based on a conception of Malay ethnonationalism that was initially fluid, but eventually became homogenised as national culture. Drawing theoretically on how cosmopolitan practices are constituted within discursive and structural contexts, this thesis analyses how Malay film music covertly expressed radical ideas despite being produced within a commercial film industry. While non-Malay collaborators owned and produced such films that were subject to British censorship, Malay composers such as P. Ramlee and Zubir Said helmed the musical authorship of such films; thereby, enabling an expressive space for their Malaynationalist aspirations. Methodologically, the study unravels the complexities and paradoxes of emergent nation-making through an intertextual analysis of Malay film music; drawing on film narratives, musical and historiographical analysis, literature surveys, and ethnographic fieldwork. I argue that Malay film music from the independence-era could not be confined by rigid ethno-national boundaries when its very aesthetic foundations were pluralistic and contemporaneous with the history of constant change, exchange, interactivity and diversity in the Malay world. This thesis reveals that despite the forced homogeneity of Malay nationalism, Malay film music from the independence-era challenged a limited conception of ethno-national identity. The aspiring and inspiring cosmopolitan ‘frameworks’ of P. Ramlee’s and Zubir Said’s music reverberates in new interpretations of identity, independence, and musical expression in the Malay world.
45
Martín, Alegre Sara. "More human than human: aspects of monstrosity in the films and novels in english of the 1980s and 1990s." Doctoral thesis, Universitat Autònoma de Barcelona, 1996. http://hdl.handle.net/10803/4915.
Full textAbstract:
La funció crucial del monstre com a figura de l'Alteritat humana ha trobat expressió cultural des de l'inici de la civilització de manera que els monstres sovint han ocupat una posició central en els diversos períodes culturals del passat. Al final del s. XX, la presència ubiqua del monstre ha esdevingut un dels trets més prominents de la cultura Occidental, en un sentit ampli. Els monstres abunden sobre tot a les novel·les i pel·lícules en anglès dels 80s i 90s. Malgrat això, s'ha parlat de la monstruositat dins els Estudis Culturals en anglès bàsicament en relació a la ficció de terror, sobre tot el cinema. Investigadors com ara Andrew Tudor a Monsters and Mad Scientists (1989), Noël Carroll a The Philosophy of Horror (1990), David Skal a The Monster Show (1993) i Barbara Creed a The Monstrous-Feminine (1993) han escrits anàlisis molt perceptives del monstre en aquest gènere. No hi ha però un discurs a l'abast sobre la monstruositat mateixa, entesa com a una complexa construcció cultural que recull els diversos tipus de monstres i que està present en la majoria de manifestacions culturals més enllà del cinema de terror.<br/>Aquesta tesi es proposa començar a omplir aquest buit, començant per qüestionar la idea que la monstruositat es limita a les criatures repulsives del cinema de terror i, en segon lloc, mirant el monstre des d'un punt de vista més ampli que inclogui els dos mitjans més populars de la ficció actual: la novel·la i el cinema. Pel que fa a la monstruositat en si, aquesta tesi deixa de banda una taxonomia tradicional que la limitaria a les llistes d'exemples per obrir un nou territori per l'anàlisi dins els Estudis Culturals en anglès en examinar el conjunt total de les representacions de la monstruositat a la ficció per categories com monstre humà i no-humà, estètic i moral, mític i polític. S'estudia el monstre, doncs, en el context de grans línies narratives que expressen les principals tensions culturals del nostre temps i que justifiquen la divisió en capítols. El monstre de ficció és un símptoma d'aquestes tensions però també part de les estratègies usades per la psicologia humana per guarir-nos de les ferides en la nostra auto-estima causades per la monstruosa realitat de la conducta humana. Els títols originals dels capítols són (la tesi està redactada en anglès): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Aquesta tesi inclou també una àmplia llista de fonts primàries (novel·les i pel·lícules).<br>La función crucial del monstruo como figura de la Otredad humana ha hallado expresión cultural desde los inicios de la civilización, de modo que los monstruos a menudo han ocupado una posición central en los diversos períodos culturales del pasado. Al final del s. XX, la presencia ubicua del monstruo se manifiesta como uno de los rasgos más prominentes de la cultura Occidental, en un sentido amplio. Los monstruos abundan sobre todo en las novelas y las películas en inglés de los 80s y 90s. Pese a ello, se ha debatido la monstruosidad dentro de los Estudios Culturales en inglés básicamente en relación a la ficción de terror, sobre todo el cine. Investigadores como Andrew Tudor en Monsters and Mad Scientists (1989), Noël Carroll en The Philosophy of Horror (1990), David Skal en The Monster Show (1993) y Barbara Creed en The Monstrous-Feminine (1993) han escrito análisis muy perceptivos del monstruo en este género. No hay, sin embargo, un discurso sobre la monstruosidad misma, definida como compleja construcción cultural que recoge los diversos tipos de monstruos y que está presente en la mayoría de manifestaciones culturales más allá del cine de terror.<br/>Esta tesis se propone iniciar el llenado de este vacío, empezando por cuestionar la idea de que la monstruosidad se limita a las criaturas repulsivas del cine de terror y, en segundo lugar, observando al monstruo desde un punto de vista más amplio que incluya los dos medios más populares de la ficción actual: la novela y el cine. Sobre la monstruosidad en sí, esta tesis no entra en una taxonomía tradicional, que la limitaría a las listas de ejemplos, para abrir un nuevo territorio de análisis dentro de los Estudios Culturales en inglés al examinar el conjunto total de les representaciones de la monstruosidad en la ficción per categorías tales como monstruo humano i no-humano, estético y moral, mítico y político. Se estudia al monstruo, pues, en el contexto de grandes líneas narrativas que expresan las principales tensiones culturales de nuestro tiempo y que justifican la división en capítulos. El monstruo de ficción es un síntoma de estas tensiones pero también parte de las estrategias usadas por la psicología humana para curarnos las heridas en nuestra auto-estima causadas por la monstruosa realidad de la conducta humana.<br/>Los títulos originales de los capítulos son (la tesis está redactada en inglés): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Esta tesis incluye una amplia lista de fuentes primarias (novelas y películas).<br>The crucial function of the monster as mankind's Other has always found an expression in culture since the dawn of civilisation and, so, monstrosity has frequently occupied a central position in the diverse cultural periods of the past. By the end of the twentieth century, the ubiquitous presence of the monster appears to be one of the most conspicuous features of contemporary Western culture in its widest sense. The monster thrives in particular in the novels and films in English of the 1980s and 1990s. Nevertheless, monstrosity has been only discussed within English Cultural Studies mostly in work dealing with horror fiction, especially with the horror film. Researchers such as Andrew Tudor in Monsters and Mad Scientists (1989), Noël Carroll in The Philosophy of Horror (1990), David Skal in The Monster Show (1993) and Barbara Creed in The Monstrous-Feminine (1993) have written perceptive analyses of the monster in that genre. Yet, there is no available discourse on monstrosity itself, understood as a complex cultural construction that gathers together the widely different types of monster and that is present in most contemporary cultural manifestations beyond the domain of horror films.<br/>It is the aim of this dissertation to start filling this gap, beginning first by questioning the idea that monstrosity is represented essentially by the repulsive creatures that can be found in horror films and second, by looking at the monster from a more comprehensive point of view which includes the two most popular vehicles for fiction today: films and novels. Regarding monstrosity itself, this dissertation disregards a traditional classificatory standpoint that would limit analysis to drawing lists of examples. Instead, this dissertation opens new ground for cultural analysis within Cultural Studies by considering together the representations of fictional monstrosity: human and non-human, aesthetic and moral, mythical and political. The monster is, thus, studied within the context of master narratives that express the main cultural tensions in our time and that justify the division into chapters of my dissertation. The fictional monster is a symptom of these tensions but it is also part of the strategies used by the human psyche to heal the wounds inflicted on its self-esteem by the monstrous reality of human behaviour. <br/>The chapters are: 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. The dissertation also include an extensive list of primary sources (novels and films).
46
Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.
Full text
47
Walters, Mark. "Hong Kong New Wave wuxia pian films and their contribution to Hong Kong's national agency during the 1980s and early 1990s." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Theses/WALTERS_MARK_59.pdf.
Full text
48
Pronko, Michael Jackson. "Dickens and film : adaptations in 1930s America." Thesis, University of Kent, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499764.
Full text
49
Barber, Sian. "1970s British film : capital, culture and creativity." Thesis, University of Portsmouth, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510771.
Full textAbstract:
This thesis explores British film culture in the 1970s through an examination of specific film texts and a range of social, cultural, industrial and institutional contexts. The study adopts an interdisciplinary approach and draws on the methods and practices of both cultural historians and scholars of film. Rigorous archival and historical research is thus combined with close textual analysis of visual sources to explore the relationships between film culture, its social and economic context and wider period concerns. My work is revisionist and source-based and actively challenges much of the received wisdom about the period. Using archival sources, my thesis develops a set of contexts in which to examine the fortunes of the British film industry throughout the decade. In addition, it surveys technological and institutional changes which impact upon the development of visual style. Examining the film industry in this way enables a map of production, distribution and exhibition to be drawn. It allows for changes and new trends to be acknowledged and scrutinised. I pay particular attention to new interventions in the industry from diverse fields and changes to established institutional practices in respect, for example, of cinema's relationship to television. The thesis then examines how successive governments attempted to support or discipline the film industry, what policy initiatives and legislation were created for these purposes and the differing approaches to the industry from Labour and Conservative administrations. My examination of film censorship within the thesis demonstrates how social controls also played an important role in mediating film culture and how the British Board of Film Censors adapted to changes in popular taste and levels of permission. I show how the BFFC followed a broadly unchanged liberal policy which relied upon pragmatism rather than a formalised approach which often came into conflict with pressure groups and the political Right. Presenting this range of contexts situates my discussion of the film culture of the period within the broad socio-political climate, and suggests the importance to the industry of external and internal factors in determining film production during the 1970s. The second half of my thesis then presents six case studies of 1970s British films selected for the richness and diversity of their archival material. These case studies are neither typical nor representative but rather are used to explore issues raised by the first half of the thesis, such as methods of production and finance, marketing and distribution and the importance of popular taste. Particular attention is also given to their visual style as well as to issues of authorship, stardom, and popularity. The thesis then relates these chosen films to the wider film culture and examines the cultural tasks they perform and their ideological functions. Specific attention here is paid to the importance of creative agency and it addresses more speculative ideas of manner, performance and visual style in the 1970s. The examination of selected film texts raises questions about the way in which cinema engages selectively with contemporary concerns. It also considers the cinema's omissions and evasions, and examines its distinctive modes of address in this period. My work demonstrates the unpredictable relationship between capital and culture in 1970s British cinema and draws upon modem methodologies of film history.
50
Soiseth, Neil. "Gadflies and Zip Guns Mass Culture Criticism and Juvenile Delinquent Texts in America, 1945–1960." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35272.
Full textAbstract:
This study considers the analyses of diverse social and cultural critics in America in the late 1940s and 1950s. In particular, it examines their mostly jaundiced view of what they called mass culture and its related expressions. But where these intellectuals approached contemporary life with variations of skepticism and dread, this study argues that they suffered a myopia that inhibited their ability to see the so-called culture industries of postwar America as dynamic and engaging, not dominating and demeaning. To contextualize that skewed perspective, this study examines the postwar paperback industry and reconfiguring film business before delving into a specific form of mass culture, the juvenile delinquent text. The 1950s was a period of great concern about the status of teenagers within larger society. This anxiety gave birth to sociological studies offering diverse theories and true crime accounts of alienated and barbaric teenagers threatening civic virtue and the nation’s future. More importantly, it also spawned waves of novels and films devoted to both sympathetic accounts of juvenile delinquents and sensationalist tales that exploited the public’s fears and fascination. This study uses these texts to examine three topics that also worried intellectuals of the period—urban decline and suburban migration; a reconfiguration of masculinity; and the morality of a society predicated on consumption—and finds considerable overlap in the questions and analyses each pursued. Apart from making the case for widespread circulation of critical ideas in 1950s America, it argues for considerable ideological unsettledness and suggests an unacknowledged conversation of sorts between producers of mass culture and the intellectuals who treated such forms as evidence of dissenting art’s fatal decline. The stratification and segregation employed by cultural critics of the 1950s serves as a warning to contemporary scholars about the dangers in privileging high over low.