Academic literature on the topic 'Capra, Frank (1897-1991)'

Contrairement aux vertus cumulées que le jeu offre à l'enfant, les fonctions cognitives de la fiction cinématographique apparaissent lorsque des bénéfices psychiques et compensatoires attendus par le spectateur se voient refusés ou restreints, car soumis à un principe de réalité. Le degré final de satisfaction du public devrait ainsi le renvoyer à la véritable nature des désirs poursuivis durant la projection. Dans ce but certains films n'emploient plus ou plus seulement les frustrations comme un moteur narratif et un support d'exaltation. Ils en font à l'inverse, s'appuyant toujours sur notre participation affective, et usant de la précision du découpage, de puissants indices et instruments critiques nous permettant de ressentir et d'explorer les lois intimes et / ou extérieures qui régissent nos existences, nos propres aspirations. Un ordonnancement complexe de plaisirs et déplaisirs étaye alors le trajet mental du spectateur à travers lequel se déploie le discours de la fiction.

This thesis is a rhetorical analysis of Frank Capra's World War II information film series, Why We Fight, produced from 1942-1945. The series' mythological messages are examined using the four national parables as defined by Robert Reich (1987), namely The Mob at the Gates, The Triumphant Individual, The Benevolent Community, and The Rot at the Top. The values conveyed through the national parables are analyzed using a delineation of 17 core American values provided by Steele and Redding (1962). The analysis reveals the basic narrative structure of the series constituted by the myths, The Battle of Good and Evil and The Foundation Myth of America. Particularly, these two myths are crucial for America's shift from an isolationist to interventionist paradigm in foreign policy. This change in the mythical system initiated America's emergence as a world power after World War II.
Department of Telecommunications

Nenhum outro realizador a trabalhar em Hollywood durante os anos 30 do século XX alcançou maior notoriedade do que Frank Capra. A sua biografia, tão parecida com as histórias de rags to riches, parece coexistir com as narrativas ilustradas em alguns dos seus filmes mais perenes. No entanto, apesar de todo este sucesso, a carreira de Frank Capra seria relativamente curta e, sobretudo, quase exclusivamente associada à década da Grande Depressão. A elaboração deste trabalho tem por objetivo articular a história pessoal de Frank Capra com as histórias da Grande Depressão, utilizando os filmes que dirigiu durante essa década e, neste processo, tornar aparentes alguns dos motivos para o sucesso do realizador durante os anos 30.
Abstract: No other director working in Hollywood during the 1930s achieved greater success than Frank Capra. His biography, so akin to a rags to riches story, seems to exist in close accordance to the narratives depicted in some of his most enduring films. Still, despite his success, the career of Frank Capra would prove to be rather short and, above all, almost exclusively associated with the decade of The Great Depression. The main objective of this research is to attempt to articulate the connections between Capra's personal story with the stories of the Great Depression, using the films he made at the time, and, in so doing, hopefully make apparent some of the reasons for Capra's success in the 1930s.