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Bowman, Barbara A. "How Do Actors and Actresses Age?: Self-Monitoring and Aging." UNF Digital Commons, 1995. http://digitalcommons.unf.edu/etd/92.
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This study investigates the relationship between life events, self-monitoring, and aging. This relationship is explored in the following five areas: religious practices, social networks, intergenerational relationships, retirement, and leisure. It was hypothesized that, compared to low self-monitors, high self-monitors would (a) spend less time in private devotional activities as they age, (b) feel a heavier impact from the reduction in the quantity of social networks, (c) have more distant intergenerational ties, (d) adjust to forced retirement more quickly, and ( e) be less satisfied with leisure time as they age. The 120 volunteer participants ranged in age from 51 through 93. The Self-Monitoring Scale (Snyder, 1974) and the Impact of Events Inventory were administered in structured individual interviews. Findings support the hypothesis that high self-monitors will experience more impact from the reduction in the quantity of social networks as they age. However, the results fail to support the other four hypotheses. Possible alternative explanations for these findings are explored. An appeal is made for future research on the topic of self-monitoring and aging.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Shing, On-ki Angel. "The star as cultural icon : the case of Josephine Siao Fong Fong /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199792.
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Dodd, Alan. "From stars to celebrities : Hollywood stardom in the age of celebrity culture." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167617.
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This thesis examines the changing nature of Hollywood stardom and how this is informed by an emergent celebrity culture. Through several case studies this study augments older forms of analysis with Bourdieu’s concept of capital to create a new model of stardom that can accommodate recent cultural developments. In chapter one four key forms of capital are identified. After contextualising this new model within the history of classic Hollywood and older academic approaches to stardom in chapter two, the analysis of Nicole Kidman’s star text in chapter three shows how her image has evolved to combine all forms of cultural capital and as such exemplifies an entirely new formulation of the Hollywood film star. Chapter four applies this analysis to the small screen, with the case studies of Michael J. Fox and Sarah Jessica Parker showing how some performers are able to accrue cultural capital by simultaneously working in film and television, establishing television as a legitimate site for Hollywood stardom and its associated capital. In chapter five a case study of Brand Beckham shows how the capital of contemporary celebrity can be effectively deployed in order to generate a similar allure to that of the classic Hollywood star and with it a similar level of Hollywood power. The final chapter examines the simultaneous unravelling of one brand and the creation of another in light of the increasing power of the fan within celebrity culture. A detailed study of Britney Spears’s presence on perezhilton.com highlights the involvement of the audience as producers of her image and demonstrates how new technologies can be used to create an entirely new form of fame for the gossip columnist, which in turn has been appropriated by the Hollywood system as the next site for legitimate fame.
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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.
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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace.
My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era.
With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.published_or_final_version
Comparative Literature
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Doctor of Philosophy
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Murray, Susan Dorrit. ""Hitch your antenna to the stars!" : early television and the renegotiation of broadcast stardom /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.
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Bode, Lisa Merle Theatre Film & Dance UNSW. "From shadow citizens to teflon stars : cultural responses to the digital actor." Awarded by:University of New South Wales. Theatre, Film and Dance, 2005. http://handle.unsw.edu.au/1959.4/20593.
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This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.
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Shing, On-ki Angel, and 盛安琪. "The star as cultural icon: the case of Josephine Siao Fong Fong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952823.
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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /." Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.
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Thesis (Ph.D.) -- University of Glasgow, 2002.Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.
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Prenter, Tracey. "A psychobiographical study of Charlize Theron." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/d1020843.
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Psychobiographers study the lives of extraordinary, prominent, and enigmatic individuals. Psychobiographical research advances our insight into the uniqueness and complexity of the human personality and therefore makes a substantial contribution towards one of the major objectives of the field of psychology. Purposive sampling was employed to select Charlize Theron as the subject of this psychobiographical study. As the only South African who has won an Oscar, Theron is an exceptional individual who demonstrates tenacity and a will to succeed despite significant traumatic events in her childhood. The case study data was organised and analysed according to the general analytic approach developed by Huberman and Miles (2002) and one of Alexander’s (1990) strategies, namely questioning the data. Erikson’s psychosocial theory (1950, 1963, 1995) was selected to guide this study because it recognises the impact of socio-cultural influences on developmental processes and provides a comprehensive, staged framework for studying Theron’s personality development. This study contributes to the development of psychobiographical research in South Africa.
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Choi, Wing-yee Kimburley, and 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.
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Skirletz, Jay H. "In the Wings without a Cue: How Industrialization Upstaged America's Actors and How They Can Re-take Center Stage." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/SkirletzJH2003.pdf.
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Wong, Suet-lan, and 黃雪蘭. "Hong Kong cinema made international: the action cinema of Bruce Lee and Jackie Chan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951764.
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Aich, Priyanka. "The construction and (re)presentation of Indian women in recent mainstream western cinema." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/p_aich_112309.pdf.
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Thesis (M.A. in communication)--Washington State University, December 2009.Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).
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Suen, Siu-mei Jocelyn. "Tina Ti as sex symbol : a challenge to dominant culture /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199615.
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Mosher, Jerry Dean. "Weighty ambitions fat actors and figurations in American cinema, 1910-1960 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959291&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Carleto, Simone. "Processos de formação de intérpretes em consigna livre : práxis e metodologias experimentadas pela Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro /." São Paulo, 2017. http://hdl.handle.net/11449/152428.
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Orientador: Alexandre Luiz MateBanca: Carminda Mendes André
Banca: José Pacheco
Banca: Mei Hua Soares
Banca: Reynúncio Napoleão de Lima
Resumo: Apresento na pesquisa reflexão a respeito da formação de atores e atrizes em consigna livre, imbricando antecedentes histórico-conceituais à observação das práxis estético-político-pedagógicos de três instituições que oferecem cursos de atuação: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Com base em pressupostos característicos da forma de produção coletivo-colaborativa do teatro de grupo e da atoralidade, no concernente à atitude criativa composicional da obra (configurando-se em experimento estético histórico-social), defendo a tese segundo a qual as metodologias experienciadas no processo formativo concernem ao modo como se considera a função social do teatro. Assim, ao estabelecer um campo de disputa simbólica, a arte contra-hegemônica intenta uma busca de alternativas e resistência, que cria novas formas de organização e relações sociais. Nesse sentido, evidenciam-se, na reflexão, as influências do teatro livre, político, agitpropista e do teatro épico para a criação dos estúdios e do sujeito histórico teatro de grupo, coligindo produção artística e formação cultural. Parte da produção teatral europeia, desde o final do século XIX e início do século XX instigou a reação de opositores, que instaurou o processo de retomada do movimento hegemônico realista. No Brasil, a ascendência do livre verificou-se na produção teatral do chamado teatro da militância, principalmente, no Teatro de Arena, Teatro Paulista do Estudante ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: I present in the research reflection about the formation of actors and actresses in free model, imbricating historical-conceptual antecedents to the observation of the aesthetic- political-pedagogical praxis of three institutions that offer courses of action: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Based on typical assumptions of form of collective-collaborative production of the theater group and interpreter as an author, with regard to compositional creative attitude of the work (setting in socio-historical aesthetic experiment), I defend the thesis that the experienced methodologies in formative process concern the way in which the social function of theater is considered. Thus, in establishing a field of symbolic dispute, anti- hegemonic art seeks a search for alternatives and resistance, which create new forms of organization and social relations. In this sense, becomes evident in the reflexion the influence of the free, political, agitprop and epic theater to the creation of the studios and the group theater as a historical subject, gathering artistic production and cultural formation. Part of the European theater production, from the late nineteenth and early twentieth century instigated the reaction of opponents, which set the process of reviving the hegemonic realist movement. In Brazil, the ancestry of the free was verified in the theatrical production of the so-called theater of militancy, mainly in the Teat... (Complete abstract click electronic access below)
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Nunes, Marilyn Clara 1984. "O oposto : um princípio para o desenvolvimento da presença e criação cênicas /." São Paulo, 2017. http://hdl.handle.net/11449/151300.
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Orientadora: Lucia Regina Vieira RomanoBanca: Elizabeth Lopes
Banca: Vinicius Torres Machado
Resumo: Partindo da minha formação enquanto atriz junto ao Odin Teatret, e de todos os estudos que as(os) integrantes desse grupo têm realizado acerca do vocabulário da atriz e do ator, busquei conectar teoria e prática, retomando o treinamento que é desenvolvido nessa tradição. Logo no início da pesquisa, o princípio da oposição, por sua recorrente presença nos exercícios e também nos escritos, mostrou-se relevante dentro do processo formativo desse grupo, especialmente no que diz respeito ao desenvolvimento da presença e criação cênicas. Debrucei-me sobre o conceito deste princípio e suas formas de manifestação, levando-me a subdividi-lo em outros quatro: a contraposição, a resistência, a pré-ação e a introversão e extroversão, e ainda, a relacioná-lo com outros estudos, tais como: a mímica moderna de Decroux, a biomecânica de Meyerhold e a expressividade corpórea de Delsarte. Também levei a oposição para dentro da minha cultura, através da Capoeira Angola e do samba brasileiro. Enquanto que, para seu trato em contexto de formação da atriz e do ator, trouxe sua explanação através dos exercícios conduzidos pelas atrizes Julia Varley, Iben Nagel Rasmussen, Roberta Carreri e pelo ator Jan Ferslev, do Odin Teatret, sem deixar, contudo, de abordar o contexto desse trabalho, permeado pela vivência com o grupo em sua sede, na Dinamarca. Tendo esta pesquisa, prioritariamente, um caráter prático e artístico, houve a sua materialização através da criação da demonstração de trabalho O oposto... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Starting from my training as an actress with Odin Teatret, and all the studies that the members of this group have done on the actress and the actor's vocabulary, I sought to connect theory and practice, returning to the training that is developed in this tradition. At the beginning of the research, due to its recurrent presence in the exercises and in the writings, the principle of opposition presented itself as relevant within this formative process, especially with regard to the development of scenic presence and creation. I focused on this principle concept and its manifestation forms, leading me to subdivide it into four others: counterposition, resistance, pre-action and introversion and extraversion, and also to relate it to other studies, such as: the Decroux's Modern Mime, Meyerhold's biomechanics and Delsarte's corporeal expressiveness. I also brought the opposition into my culture, through Capoeira Angola and Brazilian samba. While, for its use inside the actress and the actor' training, I exposed the exercises conducted by the actresses Julia Varley, Iben Nagel Rasmussen, Roberta Carreri and the actor Jan Ferslev, from Odin Teatret. However, it did not fail to address the context of this work, which was filled up by living with the group at its headquarters in Denmark. Having this research, as a matter of priority, a practical and artistic approach, its materialization came with the creation of the word demonstration The opposite, making possible to relive the practical experience with a pedagogical bias. In addition to the exercises and the historical influences, through the characters and scenes of the performance Stars and The Butterfly Nightmare, and the work demonstration The opposite, all directed by Varley, I presented the incorporation of the opposition in the creation, which proved to be a useful tool in the actress and actor's formation.
Mestre
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Suen, Siu-mei Jocelyn, and 孫少薇. "Tina Ti as sex symbol : a challenge to dominant culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hdl.handle.net/10722/205876.
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Barbosa, Laura Melamed [UNESP]. "Relações entre escutar e dizer no processo de criação da interpretação: a influência da audibilidade na percepção dos recursos expressivos orais." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141882.
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Por intermédio desta pesquisa pretende-se apresentar e fazer refletir, a partir dos resultados obtidos por meio de um processo pedagógico desenvolvido com estudantes do curso de Licenciatura em Arte – Teatro do Instituto de Artes da UNESP. O objetivo da reflexão e pesquisa desenvolvidas nessa pesquisa consiste em estudar a relação entre a estimulação das habilidades do processamento auditivo e a percepção auditiva da própria fala. Sendo assim, buscou-se verificar, ao estimularmos as habilidades do processamento auditivo e de processos correlatos, se modificamos a percepção auditiva a respeito dos recursos expressivos utilizados durante a gravação de uma leitura dramática, realizada por cinco estudantes de Teatro. Para complementar o conjunto de dados a serem analisados, incluímos as respostas de um questionário, a respeito do comportamento auditivo e de seus correlatos, aplicado no início e reaplicado seis meses após o término da pesquisa. Também contamos com informações relacionadas à elaboração da proposta expressiva para a leitura dramática. Os resultados indicaram uma pluralidade de respostas entre as (os) estudantes, o que nos permitiu refletir a respeito do processo pedagógico de cada uma (um), a partir de diversas relações comparativas. Apesar das (os) estudantes terem mobilizado para a leitura dramática diversos recursos expressivos relacionados à emoção e à intenção, poucas (os) os reconheceram auditivamente na gravação feita no início do processo. A partir de resultados, foi possível relacionar o proposto para a leitura dramática com o que foi percebido nas duas análises perceptivo-auditivas feitas pelas (os) estudantes, uma no início e outra no final da pesquisa. De modo que nos permitiu inferir conclusões propositivas, dentre as quais, destacamos o reconhecimento do quanto integrar a ação de produzir sonoridades orais, com a ação de “sentir algo”, pode ser relevante para atrizes e atores aumentarem a consistência em perceber auditivamente os recursos expressivos relacionados à emoção e à intenção que, geralmente, propõem, mas sem ouvirem-se, comumentemente. Ao término da pesquisa reconhecemos que de nada valeria realizá-la se não pudéssemos nos modificar a cada dia.
The present research aims to present and reflect from the results obtained through a pedagogical process developed with students of Arts and Drama degree of the Arts Institute of UNESP. The goal of the study consists of the relation between the hearing process abilities stimulation and the auditory perception of the own speech. This way, it will be verified if as long as the hearing process abilities and related processes are stimulated the auditory perception is modified concerning the significant resources used during a dramatic reading recording made by five drama students. In order to complement the data set to be analyzed, survey answers about the hearing behavior and related ones were included and applied at the beginning of the research and other ones six months after the end of the research as well as information related to significant proposal elaboration to a dramatic reading. The students were analyzed individually and the results indicated the plurality of answers among them which allowed us to reflect on the pedagogical process of each one from several comparative relations. Although the students have proposed to the dramatic reading many significant resources related to their emotion and to their intention, only few recognized, aurally, during the recording made at the beginning of this research. Based on results like this one, it was possible to relate what was proposed to the dramatic reading to what was understood in both auditory perceptive analysis made at the beginning and at the end of the research by the students. So, it allowed us to infer proposal conclusions which we would like to emphasize the recognition of how much we integrate the action of making oral sounds to the action of feeling something could be relevant to actresses and actors in order to make them more aware of increasing the consistence of auditory perception of significant resources related to the emotion and intention which they are only used to propose and not to hear. At the end of the research, we recognized it would not be worth making it if we could not modify ourselves each day.
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Wong, Suet-lan. "Hong Kong cinema made international : the action cinema of Bruce Lee and Jackie Chan /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059796.
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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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Donaldson, Natalie. "Lumberjacks and hoodrats: negotiating subject positions of lesbian representation in two South African television programmes." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002473.
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With the inclusion of sexual orientation in the Equality clause of the post-Apartheid constitution which demands equal rights and protection for all individuals regardless of sexual orientation, South Africa has been praised as one of the most liberal countries in the world. Because of this legal equality, gay and lesbian experiences have become a lot more visible in every day South African lives. This includes visibility in South African television programmes and film. Today, a number of South African produced television programmes have included at least one lesbian character in their storyline and many LGBTIQ activist organisations have deemed this increased visibility as a positive step for LGBTIQ rights. However, discriminatory discourses such as same-sex sexualities as 'un-African ' and unnatural, which often result in brutal hate crimes against LGBTIQ individuals (such as corrective rape), contribute to the social and cultural intolerance of same-sex sexualities. South African research into the lives of lesbian women has often related lesbian experience to that of gay men or has focused on lesbian women as victims of corrective rape and oppressive practices at the hands of the dominant heteronormative culture. This research was a discursive reception study, using three focus group discussions with self-identified lesbian audiences (black and white). The study explored how this audience received (interpreted/talked about) the available fictional representations of 'black' lesbian women and 'white' lesbian women in three clips from two South African television programmes, Society and The Mating Game. Using Wetherell's (1998) critical discursive psychology approach, this research focused on examining the 1) Subject positions made available in/by these representations; 2) Interpretive repertoires used by the audience in appropriating and/or negotiating and/or reSisting these subject positions; and 3) Ideological dilemmas experienced by participants in this negotiation process. The predominant subject positions made available in these representations were differentiated according to binary racial categories of white lesbian women and black lesbian women. For example, participants positioned white lesbian women as "lumberjacks" and "tomboys" while black lesbian women were positioned as "township lesbians" and "hood rats". In working with these subject positions, participants drew on interpretative repertoires of othering and otherness as well as interpretative repertoires of survival. In negotiating with these subject positions and others found in the discussions, ideological dilemmas often arose when participants found themselves having to draw on interpretative repertoires which extend from a heteronormative discourse. These kinds of interpretative repertoires included religion, nature, and compromise which contradicted and created a troubled position when used in relation to the participants' lesbian sexualities. Therefore, when the ideological dilemma and troubled position became apparent, participants had to work to repair the troubled position by justifying their use of these heteronormative interpretative repertoires.
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Bedir, Semih. "Exploring Local, Experimenting with Transnational: Understanding Global Popularity of Turkish Television Series." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597141652839587.
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Cevik, Senem Bahar. "Impact of media spokeswomen on teen girls' body image." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2801.
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This project investigated body image issues of girls aged 13-19 years old. It surveyed a random sample of 100 girls via a self-administered questionnaire. The study found that most teen girls have a celebrity actor idol and that the majority of teen girls are self conscious regarding body shape and weight.
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Shen, Chen. "Stephen Chow : the king of comedy in Hong Kong laughter in disguise and seeing beyond believing." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525519.
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Carleto, Simone [UNESP]. "Processos de formação de intérpretes em consigna livre: práxis e metodologias experimentadas pela Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152428.
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Apresento na pesquisa reflexão a respeito da formação de atores e atrizes em consigna livre, imbricando antecedentes histórico-conceituais à observação das práxis estético-político-pedagógicos de três instituições que oferecem cursos de atuação: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Com base em pressupostos característicos da forma de produção coletivo-colaborativa do teatro de grupo e da atoralidade, no concernente à atitude criativa composicional da obra (configurando-se em experimento estético histórico-social), defendo a tese segundo a qual as metodologias experienciadas no processo formativo concernem ao modo como se considera a função social do teatro. Assim, ao estabelecer um campo de disputa simbólica, a arte contra-hegemônica intenta uma busca de alternativas e resistência, que cria novas formas de organização e relações sociais. Nesse sentido, evidenciam-se, na reflexão, as influências do teatro livre, político, agitpropista e do teatro épico para a criação dos estúdios e do sujeito histórico teatro de grupo, coligindo produção artística e formação cultural. Parte da produção teatral europeia, desde o final do século XIX e início do século XX instigou a reação de opositores, que instaurou o processo de retomada do movimento hegemônico realista. No Brasil, a ascendência do livre verificou-se na produção teatral do chamado teatro da militância, principalmente, no Teatro de Arena, Teatro Paulista do Estudante e Teatro do Oprimido, entre outros. Já o esteticismo francês, impulsionou, entre outros, o Teatro Brasileiro de Comédia (TBC), do qual decorre o grupo Macunaíma e Centro de Pesquisas Teatrais (CPT), coordenados por Antunes Filho. Do CPT provém parte significativa da experiência artística do NAC. Do teatro e estúdios criados na transição da Rússia para a URSS por Meierhold, em contraponto ao sistema Stanislávski, veio o projeto modelar configurado por Maria Thaís da ELT. Maria Thais inspira outras iniciativas, nas quais insere-se a SP Escola de Teatro, porém com projeto e metodologia diametralmente opostas. Referente à estruturação, as diferenças percebidas relacionam-se às formas de organização: as instituições oferecem cursos gratuitos, divididos em módulos, com base em consigna livre; NAC constitui-se de modo análogo às organizações pré-capitalistas, em que o trabalho realizado não produz lucro, tendo em vista a atuação profissional voluntária em espaços cedidos, sem aporte de verbas; SP Escola de Teatro postula inserção técnica no mercado teatral, com duas exuberantes sedes e profissionais contratados pelo governo do estado de São Paulo, via Associação Amigos da Praça; ELT ocupa o Teatro Municipal Conchita de Moraes, em condições precaríssimas, e os profissionais são contratados pelo governo municipal da cidade. Mesmo com as idiossincrasias presentes nas instituições, a produção e formação artísticas abarcadas pelo livre podem ser alternativas para se pensar modelos pedagógicos criativos, que propiciem descortinar outros cenários e um outro mundo possível, no qual seja garantida a igualdade de acesso às condições materiais de produção e de apropriação simbólica.
I present in the research reflection about the formation of actors and actresses in free model, imbricating historical-conceptual antecedents to the observation of the aesthetic- political-pedagogical praxis of three institutions that offer courses of action: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Based on typical assumptions of form of collective-collaborative production of the theater group and interpreter as an author, with regard to compositional creative attitude of the work (setting in socio-historical aesthetic experiment), I defend the thesis that the experienced methodologies in formative process concern the way in which the social function of theater is considered. Thus, in establishing a field of symbolic dispute, anti- hegemonic art seeks a search for alternatives and resistance, which create new forms of organization and social relations. In this sense, becomes evident in the reflexion the influence of the free, political, agitprop and epic theater to the creation of the studios and the group theater as a historical subject, gathering artistic production and cultural formation. Part of the European theater production, from the late nineteenth and early twentieth century instigated the reaction of opponents, which set the process of reviving the hegemonic realist movement. In Brazil, the ancestry of the free was verified in the theatrical production of the so-called theater of militancy, mainly in the Teatro de Arena, Teatro Paulista do Estudante and Teatro do Oprimido, among others. On the other hand, the French aestheticism, impelled, among others, Teatro Brasileiro de Comédia (TBC), from which was originated the group Macunaíma and Centro de Pesquisas Teatrais (CPT), coordinated by Antunes Filho. CPT is a significant part of the NAC’s artistic experience. From the theater and studios created in the transition from Russia to the USSR by Meierhold, in counterpoint to the Stanislavsky system, came the modeling project set up by Maria Thaís of ELT. Maria Thais inspires other initiatives, in which the SP Escola de Teatro is inserted, but with diametrically opposed design and methodology. Regarding structuring, the perceived differences are related to the forms of organization: the institutions offer free courses, divided in modules, based on free model; NAC is formed in a similar way to the pre-capitalist organizations, in which the work done does not produce a profit, in view of the voluntary professional action in spaces ceded, without contribution of funds; SP Escola de Teatro postulates technical insertion in the theatrical market, with two exuberant venues and professionals hired by the government of the state of São Paulo, via Associação Amigos da Praça; ELT occupies the Teatro Municipal Conchita de Moraes, in precarious conditions, and the professionals are hired by the municipal government of the city of Santo André. Even with the idiosyncrasies present in the institutions, the artistic production and formation characterized by the free can be alternatives to think creative pedagogical models, which can reveal other scenarios and another possible world, in which is guaranteed equal access to the material conditions of production and symbolic appropriation.
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Mason, Melissa. "The revenge of the second banana a female sidekick's survival guide." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4803.
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I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "Charlie" in James Valcq's Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ingenue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience. During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "cold war" and the "space race" that dominated America in the 1950s. The play makes comic use of the "double-red agent" and presents the belief that the space race and cold war inevitably were tied together, while examining Russia's dirty tactics in the struggle for power. In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq's musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "Charlie" Osmanski, is the iconic man-hungry, working girl with a big heart (aka "The Sidekick"). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country. After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "What does an actor need to know in order to become the perfect sidekick?" To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience's relationship to the sidekick; and discussed the character's future as an integral force in contemporary theatre, all in a convenient survival guide. Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick's portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick's place as a relevant and sustainable character for generations to come.ID: 030646275; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 81-83).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre
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Arredondo, Christina Marlene. "The affects [sic] of behavior on celebrity image." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2627.
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Maciel, Ana Carolina de Moura Delfim 1971. "Yes nos temos bananas : cinema industrial paulista : a Companhia Cinematografica Vera Cruz, atrizes de cinema e Eliane Lage. Brasil, anos 1950." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280238.
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Orientador: Cristina MeneguelloTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta tese tem como objetivo investigar a trajetória da atriz Eliane Lage, integrante da história do cinema brasileiro dos anos 1950. A eleição e divulgação de um grupo de atrizes - integrando a busca pela implantação de um star system do cinema brasileiro - foram resultantes da tentativa de industrialização do cinema paulista, levada adiante por Franco Zampari e Francisco Matarazzo Sobrinho, por meio da fundação da Companhia Cinematográfica Vera Cruz no ano de 1949. Sendo assim ¿ visto que Eliane Lage foi lançada como atriz por essa Companhia ¿ situo inicialmente a proposta desses estúdios que pretenderam inaugurar no país uma produção em escala e com qualidade técnica, nos moldes do studio system de cinematografias hegemônicas. O Departamento de Publicidade da Vera Cruz desempenhava o papel de eleger e divulgar atrizes (e também atores) que estrelavam seus filmes. Dentre astros e estrelas desse período Eliane Lage é particularmente interessante, pois seguiu a tônica de negar a importância da carreira cinematográfica, conforme analisarei mais detidamente. Assim, uma análise do star system brasileiro se fez necessária. Confluindo três temas principais quais sejam: a Cinematográfica Vera Cruz, o star system brasileiro e atriz Eliane Lage, pretendo lançar nova luz a alguns sensos comuns que envolvem o fim da Vera Cruz e também a fugaz carreira de Eliane Lage. Os mitos que se constituíram em torno da atriz ao longo de décadas, seu comportamento na imprensa e, igualmente, as imagens que prevaleceram ao longo de seu "desaparecimento" da vida pública são alguns dos aspectos analisados na presente tese
Abstract: This thesis aims at investigating the life trajectory of Brazilian actress Eliane Lage, who was part of the history of Brazilian cinema in the 1950s. Choosing and marketing a group of actresses ¿ as an attempt to implement a star system in the Brazilian cinema ¿ resulted from an attempt to create a movie industry in São Paulo, and this was carried out by Franco Zampari and Francisco Matarazzo Sobrinho through the creation of the Vera Cruz Movie Company (Companhia Cinematográfica Vera Cruz) in the year of 1949. Therefore, ¿ seing that Eliane Lage was officially launched as an actress by this Company ¿ I, initially, address the proposal of the studios which aimed at implementing in Brazil quality movie productions in scale mirrored in hegemonic movie studio systems. The Vera Cruz Marketing Department played a role in choosing and marketing the actresses (and actors) that starred their movies. Among all the male and female stars of this period, Eliane Lage is particularly interesting, because she adopted the position of denying the importance of a career in the movie industry as this study will show in more detail. Therefore, we consider an analysis of the Brazilian star system necessary. By bringing together three main topics: the Vera Cruz Movie Company, the Brazilian star system, and actress Eliane Lage, I intend to shed some light on a number of common sense issues concerning the end of the Vera Cruz Company and Eliane Lage¿s ephemeral career. The myths created involving the actress in the past decades, her behavior in the media and, equally, the images that have prevailed during her "disappearance" from public life, are some of the aspects addressed in this thesis
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Lewis, Shane. "Orry-Kelly : an Australian in Hollywood : producing meaning through costume." Thesis, Queensland University of Technology, 1997.
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Costume designer Orry-Kelly has a unique place in Hollywood history as one of the few designers to win three or more Academy Awards and one of the few Australians to succeed in
the Hollywood studio system. His work was a major factor in the success of Bette Davis at Warner Bros. However, Orry-Kelly and his work have received little critical attention.
This study examines the function of Orry-Kelly's costumes in a selection of Bette Davis vehicles produced at Warner Bros. between 1938 and 1942. In order to assess the value of Orry-Kelly's contributions, the thesis charts the development of the role of the Hollywood studio costume
designer and summarises theories relevant to the function of costume in classical Hollywood narrative.
Films analysed are Jezebel, Dark Victory, The Letter, The Little Foxes, Now, Voyager, The Great Lie and In This Our Life. Sources consulted for background to Orry-Kelly's life and career include records in the Orry-Kelly File in the Warner Bros. Archives at the University of Southern
California, and material gathered in Australia which has not been previously presented in an academic study.
The study concludes that Orry-Kelly's costume concepts display an intuitive understanding of processes of human perception and behaviour, and knowledge of the requirements of the film medium, to convey the preferred meanings about characters and aid in story-telling.
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Asiedu, Emelia Pinamang. "My acting process: getting out of my own way." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/3247.
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My thesis paper will address why I act and different aspects of my work as an actor. Acting training is a constant process and it is the job of the actor to keep up a regular routine that keeps one from going out of practice. I will discuss what I personally do regularly to stay in training. I will also discuss the process I go through to prepare myself to perform in acting roles. Though my approach to developing each new character is different, there are some aspects of my approach that remain constant.
This paper will also describe the kinds of stories I am interested in telling. Though actors are equipped to tell a wide variety of stories from many different perspectives, I, as a Ghanaian female artist of color, am drawn to specific kinds of projects that relate to my life experiences. These are the stories that I feel compelled to tell.
I believe my work is not just an occupation but rather encompasses the way I choose to live my life. So I will also discuss the ways in which I think my acting work is relevant in the world at large. I will include the ways in which I feel my work has had an impact in my environment, as well as how I hope to use my acting a vehicle to influence change in the future.
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Staffel, Chris. "PORTRAYING POINTILLISM: AN ACTRESS'S JOURNEY THROUGH POINTILLISM TO DEFINE THE ROLE OF DOT IN SONDHEIM AND LAPINE'S MUSI." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4208.
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Upon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This thesis will explore the similarities between the Post-Impressionist technique of pointillism and the actor's process in developing a role. Upon observing the basic process of each technique, one can conclude that the method of consistently adding many specific elements eventually creates a finished product whether it is in the form of a painting on a canvas or a performance on a stage. By paralleling these two artistic techniques, a new contribution to musical theatre is made by presenting a fresh outlook for performers in their approach to creating roles. Research on pointillism and George Seurat's painting technique when interwoven with Stephen Sondheim's techniques in music theory (specifically the examples derived from the score of Sunday in the Park with George), and compared to my technique and process as the actor playing the role of Dot in the University of Central Florida Conservatory Theatre's 2006 Spring production of Sunday in the Park with George, demonstrates how the theories of pointillism and the actor's process are clearly comparable and arguably inseparable.M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Bordinhon, Eduardo Moraes 1987. "Marlon Brando - O "Jovem Rebelde" e o "Padrinho" : as figuras de um ator-autor." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284995.
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Orientador: Marcelo Ramos LazzarattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa dissertação teve como objetivo estudar os procedimentos técnicos que envolvem o trabalho a interpretação para cinema. Para isso, tivemos como objeto de pesquisa a filmografia do ator Marlon Brando (1924 ¿ 2004), com enfoque nos filmes "Uma Rua Chamada Pecado" (Elia Kazan, 1951), "Sindicato de Ladrões" (Elia Kazan, 1954), "A Face Oculta" (Marlon Brando, 1961), "O Grande Motim" (Lewis Milestone, 1962), "O Poderoso Chefão" (Francis Ford Coppola, 1972) e "Apocalipse Now" (Francis Ford Coppola, 1979). Verificamos, ao longo desses filmes, os procedimentos de construção de cena e personagens apoiados nos escritos de Stella Adler (2002) e Constantin Stanislavski (2001) sobre o trabalho do ator, com enfoque nas ações físicas no uso da imaginação e observação. Além disso, analisamos os temas e personagens recorrentes na filmografia de Brando identificando uma padronização de seu aparecimento na tela. Tal padrão está intimamente ligado à própria personalidade do ator e chega em duas figuras essenciais: o "jovem rebelde", presente nos filmes dos anos 1950 e caracterizado por sua postura contra o sistema vigente e o "padrinho", consolidado nas obras da década de 1970, marcado por sua relação de mentor de um personagem ou grupo de personagens. Para investigarmos essa padronização, utilizamos o conceito de ator-autor proposto por Patrick McGuiligan (1975) e desenvolvido por Luc Moullet (1993) e Pedro Maciel Guimarães (2012), com o qual se analisa a filmografia de um ator em busca de aspectos formais e temáticos que o possam nomeá-lo como co-autor de um filme
Abstract: This dissertation aim was studying the technical procedures of acting in cinema. In order to do this, we took as research material the filmography of the actor Marlon Brando (1924 ¿ 2004), focusing in the films "A Streetcar Named Desire" (Elia Kazan, 1951), "On The Waterfront" (Elia Kazan, 1954), "One-Eyed Jacks" (Marlon Brando, 1961), "Moutiny on the Bouty" (Lewis Milestone, 1962), "The Godfather" (Francis Ford Coppola, 1972) and "Apocalipse Now" (Francis Ford Coppola, 1979). Through those movies, we verified the procedures of creating a scene and a character supported by the writings of Stella Adler (2002) and Constantin Stanislavski (2001) on acting, focusing on physical actions, imagination and observation. Furthermore, we analysed the recurrent themes and characters on Brando¿s filmography investigating a pattern in his appearance on screen which is linked with the personality of the actor himself. Thus, we find two essential figures, the "young rebel", in the movies of the 1950s and characterized by his position against the hegemonic system, and the "godfather", consolidated in the 1970s, characterized by his relation as a mentor of a character or a group of characters. To investigate this standardization, we used the concept of the actor-author, proposed by Patrick McGuiligan (1975) and further developed by Luc Moullet (1993) and Pedro Maciel Guimarães (2012), in which one analyses an actor¿s filmography searching thematic and formal aspects that can categorize the actor as a co-author of a film
Mestrado
Teatro, Dança e Performance
Mestre em Artes da Cena
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Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.
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Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
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Brown, Arielle B., and Arielle B. Brown. "The Effects of Politics and Media on America: Creating the Role of Lainie Wells in Lee Blessing's Two Rooms." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2130.
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Two Rooms, by Lee Blessings, was selected for performance at the University of New Orleans during the fall of 2015. I studied and portrayed the role of Lainie Wells as my thesis project. The purpose of my thesis was to research a character physically, psychologically, and emotionally as an actress and create a character through the eyes of Lainie Wells.
The following is a brief breakdown of the structure of my written thesis: biography of Lee Blessing, hostage families and their mental state as it relates to the Iranian hostage crisis, mass media effects on Syria, The Hunt for Bin Laden, the rehearsal process, and a scored script including all actions and objectives; a review of my work, my own conclusions based on my process and character arc, photographs of my performance, a professional headshot along with my resume to highlight the significance to my work as an artist.
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Marguier, Florence. "Maria Casarès : Recherches et métamorphoses d'une comédienne." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030144.
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Notre approche concernant Maria Casarès est une découverte de son art où sa propre recherche tient une place importante. Elle est en effet une des figures de proue du théâtre de la deuxième moitié du XXème siècle qui poursuit sa route jusqu'à devenir une Figure du théâtre français. D'elle, on garde les visages de la Mort d'Orphée de Cocteau ou de la femme fatale des Dames du Bois de Boulogne de Bresson, sa participation au T.N.P. Et pourtant ceci ne constitue qu'une étape dans une trajectoire où la comédienne va s'enrichir à chaque fois de ses propres découvertes. Au delà de son image de monstre sacré, on se rend compte que Maria Casarès est d'abord une comédienne qui se crée une manière propre d'aborder la scène. Par son art authentique, elle possède une poétique de l'acteur. Celle-ci la situe dans un cheminement nomade où elle traverse les courants du théâtre, dans une quête à la fois artistique et identitaire. C'est cette trajectoire qu'elle partage avec des metteurs en scène complices, de Marcel Herrand à Jorge Lavelli, en passant par Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart entre autresOur approach to Maria Casarès is a discovery of her art where her own research has an important place. She is effectively one of the figureheads in the theatre of the second half of the 20th century. Because of her, we remember the faces in "La mort d'Orphée" by Cocteau, or la femme fatale in "Les dames du Bois de Boulogne" by Bresson, her participation at the T.N.P. Even so, these are only steps in a future where the actress will enrich her knowledge by her own discoveries. Beyond her reputation as a master in the art of theatre we realise that Maria Casarès is above all an actress who invented her personal way to approach the stage. With her authentic art she possessed the poetics of an actor. This is her nomadic road, where she navigates through theatre in a search which is at the same time identity and art. On this path she shares her search with her director friends, Marcel Herrand and Jorge Lavelli. Also with Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart and others
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Ait, Aattou-Behrend Emma. "Luchino Visconti et l'adaptation cinématographique d'œuvres littéraires : fondements de l'imaginaire et fatalité." Thesis, Strasbourg, 2020. https://publication-theses.unistra.fr/restreint/theses_doctorat/2020/Ait_Aattou_Behrend_Emma_2020_520.pdf.
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En Italie, le cinéma prend vraiment son essor peu avant la Première Guerre Mondiale. Cette nouvelle industrie y connaît un élan considérable grâce à la multiplication des salles obscures. Néoréalisme serait né entre le Toni de Jean Renoir et l’Ossessione de Luchino Visconti. Et c’est autour des adaptations cinématographiques d’ouvrages littéraires de Visconti que notre étude s’attache, au gré des focalisations, inspirations et transpositions du réalisateur milanais. Ainsi, l’œuvre colossale du comte de Lonate Pozzolo se mue en banque de données à la source inépuisableIn Italy, cinema evolved rapidly right before World War I. This new art also grew up thanks to the multiplication of movies theaters. Neo-realism might be born between Jean Renoir's Toni and Luchino Visconti's Ossessione. And this study is about the film adaptation of literary works of Visconti, following the focalizations, inspirations and transpositions of the director from Milan. This way, by analysing his incredible work of art, we will be able to observe how rich the Earl of Lonate Pozzolo's films are
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Lenk, Erika 1978. "Carlitos : história de vida e obra de Chales Chaplin." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250941.
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Orientador: Ana Angélica Medeiros AlbanoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta dissertação percorre a trajetória de vida do célebre ator e cineasta inglês Charles Spencer Chaplin (1889-1977), o imaginativo criador de Carlitos, cuja graça e lirismo marcaram fortemente a arte do século XX. Sua obra ridiculariza os padrões culturais da sociedade estabelecida através das aventuras do Tramp, o errante marginalizado que permanece vivo no cenário cultural atual. Este estudo busca uma relação entre a vida e arte de Chaplin, identificando fatores que contribuíram para seu desenvolvimento artístico e seu conhecimento em arte.
Abstract: This dissertation contains the life story of the famous actor and English filmmaker Charles Spencer Chaplin (1889-1977), the imaginative creator of the Tramp, whose grace and lyricism left his impression on the twentieth (20th) century. His work satirizes the cultural patterns of the established society through the adventures of the Tramp, the marginalized vagabond that remains alive in the recent cultural scenario. This study searches the connection between Chaplin's life and art, identifying factors that contributed to his artistic development and his knowledge in art.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Rochefort, Suzanne. "Travailler sur le devant de la scène : le métier de comédien et de comédienne à Paris (années 1740-1799)." Electronic Thesis or Diss., Paris, EHESS, 2021. http://www.theses.fr/2021EHES0124.
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Dans la seconde moitié du XVIIIe siècle, l'essor des divertissements théâtraux ainsi que les mutations de l'espace public transforment le métier de comédien. Cette thèse vise à cerner les modalités et les enjeux de ces évolutions dans la capitale, en partant des trajectoires et des expériences de travail des acteurs et des actrices. À la Comédie-Française, à la Comédie-Italienne mais aussi dans les théâtres de boulevard, le monde professionnel des comédiens et des comédiennes se structure à différents niveaux, au gré des évolutions institutionnelles, commerciales et politiques. Puisque la spécificité du métier est de réaliser des performances scéniques devant des spectateurs, cette enquête analyse aussi l’importance de la reconnaissance publique par le prisme des pratiques de travail. Le développement de la presse et les nouvelles formes de visibilité dans la ville façonnent les carrières. Cela contribue également à redéfinir les hiérarchies et l’identité du métier ; celui-ci acquiert au fil de la période une nouvelle place dans la société. Cette thèse se présente donc comme une contribution à l'histoire sociale du travail artistique, éclairant en retour un certain nombre de mutations culturelles des dernières décennies de l’Ancien Régime et de la RévolutionIn the second half of the 18th century, the rise of theatrical entertainment and the changes in public space transformed the profession of acting. This thesis aims at identifying the modalities and issues of these changes in the capital, based on the trajectories and work experiences of actors and actresses. At the Comédie-Française, the Comédie-Italienne, as well as in the boulevard theatres, the professional world of actors and actresses is structured at different levels, according to institutional, commercial and political developments. Since the specificity of the profession is to perform on stage in front of spectators, this investigation analyses the importance of public recognition through the prism of work practices. Development of press and new forms of visibility in the city shape careers. They also contribute to redefining the hierarchies and the profession identity, which acquires a new place in society over the studied period. This thesis is thus a contribution to the social history of artistic work, shedding light on a certain number of cultural mutations during the last decades of the Ancien Regime and the Revolution
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Skriletz, Jay H. "In the wings without a cue: how industrialization upstaged America's actors and how they can re-take center stage /." 2003. http://www.library.umaine.edu/theses/pdf/SkriletzJH2003.pdf.
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Becker, Christine A. "An industrial history of established Hollywood film actors on fifties prime time television /." 2001. http://www.library.wisc.edu/databases/connect/dissertations.html.
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"Image and identity: a study of Connie Chan Po Chu and Josephine Siao Fong Fong as popular icons for women in the culture industry of Hong Kong." 1998. http://library.cuhk.edu.hk/record=b5889718.
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by Ku Ho Kwan Lisbeth.Thesis submitted in: September 1997.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Filmography: leaves 117-119.
Includes bibliographical references (leaves 109-116).
List of illustrations --- p.vii
Chapter I. --- Introduction --- p.1
Chapter 1. 1 --- Articulating Hong Kong History / Identity --- p.1
Chapter 1.2 --- Identity through Mass-Cultural Mediation --- p.10
Chapter 1. 3 --- Using Popular Culture --- p.18
Chapter II. --- The Locality of Culture: A Contextual Analysis of Cantonese Cinema in Hong Kong --- p.32
Chapter 2.1 --- The Emergence of Local Consciousness through Three Decades of Cantonese Cinema (From the 30s to the 50s) --- p.32
Chapter 2. 2 --- Youth Film and Its Historically Specific Audience --- p.38
Chapter 2. 3 --- Reading Youth Film -- A Purple Stormy Night (紫色風雨夜) --- p.55
Chapter III. --- Mass Mediated Images of Women --- p.64
Chapter 3. 1 --- Connie Chan Po Chu and Josephine Siao Fong Fong as Desired Cultural Images --- p.66
Chapter 3. 2 --- Identification and Commodification --- p.81
Chapter IV. --- Conclusion --- p.92
Chapter 4.1 --- The Ordinary and the Extraordinary-- Siao Fong Fong and the Self-Image of Hong Kong People in the 90s --- p.92
Chapter 4.2 --- Mediating Cultural Identity with Cultural History of Hong Kong --- p.102
Bibliography --- p.109
中文電影目錄 --- p.117
Appendix --- p.120
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Šimek, Martin. "Obrazy dějin v české filmové a televizní tvorbě 21. století očima mladé generace herců a hereček." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-345654.
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The aim of this thesis is to capture the view of young (professionally) generation of actors and actresses who have played in at least one film or television film with the theme of the history of the twentieth century, on problems of contemporary history and historical subjects in the film. Another aim is to examine the reflection of the risks or benefits of film processing or historical events affecting the film medium itself, survivors from among the family members of narrators and schooling. Research is conducted through qualitative methods based on interviews with fourteen respondents, together with an analysis of film and television works, in which individual respondents portraying their roles. This is a case study of called "exclusive" group of artists. The thesis also deals with the question of the actor's "empathy" in character. Key words: Actors and actresses, Image of history, Historical subject, Film, Empathy
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"Japanese voice goes global and local: globalization and localization of the Japanese seiyū culture in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5896750.
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Iu, Yiu.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 163-173).
Abstracts in English and Chinese ; questionnaires also in Chinese.
Abstracts --- p.i
Acknowledgements --- p.iii
Table of Contents --- p.iv
Introduction --- p.1
Chapter A. --- Objectives and Significance --- p.1
Chapter B. --- Academic Issues and Literature Review --- p.4
Chapter C. --- Theories and Methodologies --- p.18
Chapter D. --- Structure of the Thesis --- p.20
Chapter Part I: --- The Making of a Seiyu Culture in Japan
Chapter Chapter 1: --- What is Seiyu? --- p.24
Chapter 1.1 --- Definition of Seiyu --- p.24
Chapter 1.2 --- Scope of Works --- p.27
Chapter 1.3 --- Training Institutions and Agencies --- p.32
Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38
Chapter Part II: --- Cultural and Social Significance of Seiyu Culture
Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56
Chapter 3.1 --- Internal Factors --- p.58
Chapter 3.2 --- External Factors --- p.64
Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78
Chapter 4.1 --- Cultural Impact --- p.78
Chapter 4.2 --- Social Impact --- p.92
Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists
Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101
Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102
Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112
Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117
Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123
Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126
Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135
Concluding Analysis --- p.147
References --- p.163
Appendix --- p.174
Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174
Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177
Chapter III) --- Sample Interview Questions for Voice Artists --- p.178
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Beltrán, Mary Caudle. "Bronze seduction the shaping of Latina stardom in Hollywood film and star publicity /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108457.
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Beltrán, Mary Caudle. "Bronze seduction: the shaping of Latina stardom in Hollywood film and star publicity." Thesis, 2002. http://hdl.handle.net/2152/456.
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Ayob, Asma. "Beyond appearances : transnationalism and representation of women in Bollywood cinema." Thesis, 2014. http://hdl.handle.net/10500/18481.
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Bollywood cinema continues to evolve. As a result, it has become a transnational/cultural role player for Indian audiences worldwide. There has always been a strong link between Bollywood cinema and Indian society. Over the years, it has contributed to the dialogue on women’s roles and position in Indian society. In the past, Bollywood filmmakers were faithful to representations of women who were bound by patriarchal structures in the sense that they were expected to be loyal to ancient Indian traditions and belief-systems. Based on the increase in Indian migration, contemporary Bollywood filmmakers are now catering to the demands of the Indian diaspora and therefore, a more global market. The impact of transnationalism on the representation of women in many Bollywood films has further added to the creation of open spaces for the Bollywood heroine. In this regard, the films of auteur director Karan Johar are valuable because they provide audiences with material that suggests re-thinking patriarchal structures in a transnational world.
This study will examine the representation of women in three selected films of Johar within the framework of feminist theory (Indian context). The impact that transnationalism has had on the Indian diaspora and the manner in which this translates into the narratives and representations of female characters in Bollywood films will be discussed.Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)