Dissertations / Theses: 'Business in motion pictures'

1

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

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

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

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Sörling, Marie-Louise, and Viktor Wallgren. "Media Placement of Locations : An Exploratory Study of the Possible Trends within the Film Industry." Thesis, Jönköping University, JIBS, Business Administration, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-159.

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Product placement is a relatively new idea within marketing. Despite this, it has become a more accepted and used concept, especially within the motion picture industry. It has been noticed that exposure on screen has had a positive effect on sales of the showed products, even though there are still no clear method to measure its efficiency. Evidence has shown that there is an increased tourism to destinations exposed on screen. For example, the movie Braveheart increased tourism to Scotland, Notting Hill has brought attention to London’s district Notting Hill, and the books of Wallander has benefited Ystad. We therefore see a possible development of product placement, which so far only has incorporated products, to also include placement of geographical places (cities, region or nations etc), i.e. location placement. The exposures that to this point has occurred has been random, with no active participation from marketers or filmmakers.

Our purpose is to investigate if media placement of locations (defined as paying for the placement) is a possible future source of revenue for location marketers as well as film and product placement agencies.

We have interviewed people from three main areas: marketer of a geographical location, product placement agency, and representatives from the film production. Since we had some problems collecting sufficient data, we decided to complement our empirical findings with secondary data.

We see a potential development of location placements. It does however require some conditions to be fulfilled. First, the placement must be seamlessly placed, should lead the story forward and should not be the main focus before the script. Second, the placement must be communicated openly throughout the entire production process and with all parties involved. Finally we see that placement must be founded on good relationships and having the right channels. The actors involved in a location placement are the marketer, product placement agency, location shout, director and other film production crew.

To sum up, a well thought-thru location placement that are consistent with the overall location brand image and the story, would benefit both the location and the film.

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Messenger, Cory Luke Joseph. "Calling the Tune: Hollywood and the Business of Music." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/366651.

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Calling the Tune: Hollywood and the Business of Music combines historical research on the US film and music industries with textual film analysis in order to examine how the growing conglomeration of these two institutions affected outcomes in cultural production in the twentieth century. Ultimately, this study argues, the relationship between commercial film and popular music led, in the late 1960s and early 1970s, to the emergence of New Hollywood, a term which encompasses both aesthetic and economic considerations, and which still describes contemporary commercial film production. This thesis traces the origins of New Hollywood back to the late 1920s and the advent of talking motion pictures. During this period issues surrounding the licensing of musical copyrights for inclusion in films led the major Hollywood studios to invest heavily in music publishing, so as to absorb the processes of music composition into the established studio system. After buying the key publishing firms on Tin Pan Alley, the studios soon learned that cross-media ownership enabled them to spread financial risk across interrelated commercial products. Hollywood also came to dominate the board of the American Society of Composers, Authors and Publishers, the licensing body which controlled the promotion and dissemination of American popular music. In the 1930s the Hollywood musical emerged as the ideal medium with which to promote new copyrights, which in turn could promote the films they featured in via radio play. But as radio grew in size and influence due to its own reliance on popular music, the major film studios and the US radio networks clashed over licensing fee rates.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Banchuen, Woraphat. "A comparative study of product placement in movies in the United States and Thailand." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3265.

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

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Hamonic, Wynn Gerald. ""Disney is the Tiffany's and I am the Woolworth's of the business" : a critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6436.

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Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.

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7

Ngai, Tin-ming Tony. "Evaluating strategic options for China business : perspective of the Chinese family firm /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040323.

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Gebacz, Chloe C. "Why So Short?: The Changing World of the Short Film Industry and Online Distribution." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429898301.

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Deniss, Dobrovolskis. "Curious case of Rotten Tomatoes : Effects of quality signalling in the US domestic motion picture market." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352040.

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Quality signalling in motion picture markets is hardly a new topic. It has been covered by many researchers over the years. However, most of the previous studies focused on quality signals in interactions between moviemakers and moviegoers. This study employs a more holistic approach as the author attempts to evaluate effects of quality signals throughout different stages of movies’ life cycle. The author has identified three audiences that movies are presented to; and, each group of audience generates a quality signal for the next audience. Based on the feedback from test audiences, moviemakers decide on when to show movies to professional critics and when to allow them to publish their reviews. Interpretation of these timelines become quality signals for the professional critics who interpret shorter time slot for review publication as a signal of the low quality of the movie and vice versa. Professional critics write their reviews which when published on review aggregators become quality signals for the moviegoers. Reviews generated by the initial moviegoers are interpreted by the moviegoers who intend to watch movies at a later stage. All three assumptions are operationalised and evaluated in a series of linear regression tests in this research on a sample containing 130 out of 134 widely released movies in the US and Canada domestic market in 2017. All of the abovementioned quality signals found to be significant as they could explain at least 40 % of the variance of respective response variables.

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10

Dunn, Melissa L. "An investigation of the effectiveness of the Internet as a tool for independent filmmakers." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S. )--Kutztown University of Pennsylvania, 2006.
Source: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 21).

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11

Cazdyn, Eric M. "Problem cinema : culture, capital and form in Japan /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.

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12

Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.

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13

Carbonaro, Joseph. "Enabling church members to evaluate the moral content of feature films." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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14

Ncoyo, Nosiphiwo. "Challenges facing SMME's in the film industry in the Nelson Mandela Bay Municipality." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/8945.

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The Film Industry is regarded as a vital part of the South African economy. One of the advantages of this sector is the potential to create jobs. This has been evidenced over the years by direct jobs created for people in the entire film value chain. The Film industry has also generated many more jobs indirectly and sectors such as transport, catering and hospitality benefited enormously. The NFVF (2010) 10 years review of the Film and Video industry states that the South African government has identified the film industry as one of the catalytic vehicles for job creation and economic growth. Given the importance of the contribution of the Film Industry to job creation and economic development, there is a demand for SMMEs in this sector to be supported by Government. Not until recently the support given to Filmmakers was biased to Gauteng, Cape Town and Kwa-Zulu Natal as a result film makers would go to these Provinces for opportunities. This study has examined the challenges faced by SMMEs in the film industry in the Nelson Mandela Bay Municipality in acquiring Government support and to seek ways of addressing the challenges. There has been limited research undertaken on the support given to SMMEs in film particularly the Eastern Cape Province. After a comprehensive literature review was undertaken on SMMEs, the following variables were identified as conceivably affecting growth and development of SMMEs in the film industry: Enabling Legal and regulatory environment; Financial support; Technological support; Managerial support. This study followed a quantitative research method. A measuring instrument in the form of a questionnaire was compiled from secondary sources of literature. The respondents were identified through convenience sampling technique. The sample comprised of 35 out of 50 SMMEs in film. The empirical results showed that all of the variables, enabling legal and regulatory environment, financial support, technological support and managerial support had a relationship with growth and development of SMMEs in film.

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Tam, Siu-yan Xavier. "Between penumbrae and shadow contextualizing transnational queer Chinese cinemas /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44142663.

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16

Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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17

Wang, Qi. "Writing against oblivion personal filmmaking from the forsaken generation in post-socialist China /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619151901&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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18

Restoule, Jean-Paul. "How "Indians" are read the representation of aboriginality in films by native and non-native directors /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30998.pdf.

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19

Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

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

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Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

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22

Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /." Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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Tiburzi, Brian M. "The fifth generation Chinese cinema's "great leap forward" /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1445180.

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24

Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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25

Gulledge, Jim. "A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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26

Szaloky, Melinda Terezia. "Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Zhu, Ying. "From art to commerce : Chinese cinema in the era of reforms /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

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

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30

Luce, Micah. "The cinema and the church experiential [koinonia] in audience and congregation /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

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31

Suen, Pak-kin. "Filming gay representations : male homosexuality in Hong Kong and Taiwanese cinema /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23242036.

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32

Potter, George Alexander. "Iphone to IMAX: the social implications of screen size." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/potter/PotterG1208.pdf.

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Screen size changes the way the moving image affects viewers and specific content is more likely to be influential if screened on the most appropriate media type. The ever-increasing popularity of portable devices, like the iPhone, means that viewers are watching more content on smaller screens than ever before. At the same time, movie theatres and Imax screens are still as popular as ever and seeing something on the big screen holds some kind of magic for the viewer. This fact has not been lost on environmental filmmakers who are increasingly finding ways of using different sized screens to promote their cause. Ultimately, the size of the screen not only determines what viewers watch, and how they are affected by what they see, but can actually be the deciding factor for whether they take action on an issue.

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33

Dawson, Harold. "The commodification of tragedy a critical examination of contemporary film /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=786.

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34

Lee, Tain-dow. "Reforming film study at the level of higher education in Taiwan, the Republic of China /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147137.

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Falicov, Tamara Leah. "The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

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Kunkle, Daniel James. "No brute images the need for a Reformed and transcendental approach to the movies /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

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37

Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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Lee, Christina H. P. "Beyond the pink : (post) youth iconography in cinema /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.

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Noble, Fiona. "Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.

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Yeung, Yuk-ngan. "Gender representation in films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?

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41

Tam, Siu-yan Xavier, and 譚兆仁. "Between penumbrae and shadow: contextualizingtransnational queer Chinese cinemas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44142663.

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42

Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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43

Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.

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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).
Thesis (Ph.D.)--School of Humanities, 2004.

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44

Haygood, Ashley. "The rise of controversial content in Film." Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.

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

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46

Cui, Shuqin. "A cross-cultural analysis of gender and representation in Chinese new cinema." online access from Digital Dissertation Consortium access full-text, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9624592.

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47

Inocencio, Jessica Lynn. "The hybridization of African identities in African film." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.

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This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.

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48

Kellett, Ian Alexander. "Remote Outreach Cinema Campaign: (R.O.C.C.)." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/kellett/KellettI0806.pdf.

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This thesis proposes strategies for the making and exhibition of films that amplify conservation values and efforts in rural communities. The films support and promote the missions of local leaders and the agendas of respected environmental agencies. The filmmaking strategies entail identifying existing conservation values as experienced through broad themes such as quality of life, economics and community development. By focusing on the collaborative process of making and projecting a film, these strategies serve to inspire innovative solutions promoting responsible stewardship of the land and sea. This model of media creation and delivery is designed to empower local politics and communities with the momentum necessary to plan a future consistent with their environmental values. I call this media creation and delivery strategy, Remote Outreach Cinema Campaigns (R.O.C.C.); Remote, because the media is targeted towards rural audiences, Outreach because the media supports the missions of established environmental agencies, Cinema, because the final delivery is on a large screen and viewed collectively. And Campaign, because the final film is only one part of a process.

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Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.

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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.

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50

Haywood, Keene McDonald. "Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

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Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.

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Dissertations / Theses on the topic 'Business in motion pictures'

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