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Dissertations / Theses on the topic 'Cinema and society'

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Published: 4 June 2021

Last updated: 26 July 2025

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1

Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.

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2

Mendes, Maria Teresa Silva Guerreiro. "Cinema e experiência moderna." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29929.

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3

Lehin, Barbara. "Cinema and society : Thatcher's Britain and Mitterand's France." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.

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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about societ

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4

Shail, Robert Simon. "Constructions of masculinity in 1960s British cinema." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248479.

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5

Zhang, Li-Fen. "After Mao : cinema and Chinese society : a sociological analysis of the Chinese cinema (1978-92)." Thesis, University of Leicester, 1995. http://hdl.handle.net/2381/34617.

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This theses, of primarily a sociological nature, aims to examine the emergence of post-Mao Chinese cinema and its embodied political culture, in responding, or adjusting, to the sweeping and sometimes rather turbulent process of the "open door" reform movement. The transformation of Chinese cinema, as a whole, is an area of relatively minor importance, when compared with other major agenda items on the reform programme (i.e., economic growth, financial and fiscal stability, etc.). Nevertheless, the case of Chinese cinema does provide us with a unique setting and perspective so as to reach a be

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6

Bamford, Kenton. "Conflicting images : film, class and society in Britain 1919-1939." Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386467.

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7

Donald, Stephanie Jane. "Chinese cinema and civil society in the post-Maoist era." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320224.

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8

Sadegh-Vaziri, Persheng. "Iranian Documentary Film Culture: Cinema, Society, and Power 1997-2014." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/363567.

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Media & Communication<br>Ph.D.<br>Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed t

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9

Lobo, Maria da Graça. "Formação de público para o cinema." Master's thesis, Instituições portuguesas -- -Universidade do Algarve, 1999. http://dited.bn.pt:80/29140.

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10

Mendes, João Paulo de Oliveira Cruz. "O cinema de Tarkovski-apresentação da realidade e infinito ético." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa, 2001. http://dited.bn.pt:80/29402.

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11

Obono, Ngou Milama Léthicia. "Visages d'enfants dans le cinéma africain d'expression française." Thesis, Tours, 2018. http://www.theses.fr/2018TOUR2026.

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S’il demeure un témoin vivant des sociétés africaines dans un monde bouleversé, le cinéma africain d’expression française a très tôt représenté l’enfance pour exprimer un destin et faire l’histoire. Vu à travers le regard du monde adulte, l’enfant devient au fil des vingt-huit films de fiction de notre corpus (de 1965 à 1999), un véritable point de convergence où se cristallisent les défis sociaux, politiques, économiques et culturels. Commencement absolu et gardien du monde de demain, il avance, chute, cherche à comprendre et décrire le monde qui l’entoure, tout en se heurtant à son adversité

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12

Anselme, Isabelle. "Le cinéma chinois dans un régime autoritaire au XXIe siècle : des films sous influences (2001-2014)." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30092.

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Dans un film « tout est politique. Toutes les scènes du quotidien cachent en fait des informations politiques. Tous les changements des personnages, dans leur vie quotidienne, révèlent en réalité quelque chose de politique ». Cette observation du réalisateur Jia Zhangke résonne de façon encore plus aigüe quand il s'agit de la République populaire de Chine (RPC).Si l'on a pu assister depuis ces dernières années à une libéralisation économique sans précédent, la RPC, d'un point de vue politique, reste encore au XXIe siècle un régime autoritaire. Domaine sensible en Chine, le cinéma, à la fois ar

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13

Rajagopalan, Sudha. "A taste for Indian films negotiating cultural boundaries in post-Stalinist Soviet society /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162980.

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Thesis (Ph.D.)--Indiana University, Dept. of History, 2005.<br>Title from PDF t.p. (viewed Dec. 2, 2008). Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0725. Chair: Alexander Rabinowitch.

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14

Jaguaribe, Ana Elisabete Freitas. "Os incompreendidos: as novas práticas e poéticas do audiovisual do Ceará, a partir da experiência do Alumbramento." reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/27596.

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Jaguaribe, Ana Elisabete Freitas. Os incompreendidos: as novas práticas e poéticas do audiovisual do Ceará, a partir da experiência do Alumbramento. 2017. 196f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2017.<br>Submitted by Maria Josineide Góis (josineide@ufc.br) on 2017-11-20T16:52:22Z No. of bitstreams: 1 2017_tese_ aefjaguaribe.pdf: 2756514 bytes, checksum: f8be31cc146754ad44d9b8bdd44bbc57 (MD5)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-21T17:32:31Z (GMT) No. of bitstream

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Evans, Angela. "Cinema, entrepreneurship and society in the South Wales valleys, 1900 to the 1970s." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/97647/.

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This thesis explores the role played by small-scale cinema entrepreneurs in the south Wales valleys in establishing cinema as the predominant cultural medium of the twentieth century. The focus and methodology draw heavily on the �new cinema history� that emerged in the early 2000s and champions a reorientation of cinema history away from a concentration on films as cultural products towards a more sociological approach that views cinema as a social institution located within specific community settings. The continuing dominance of small-scale cinema ownership in the south Wales valleys (in mo

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16

Nogueira, António Couceiro da Cruz. "Cinema, narratologia, jornalismo-um travelling pela cultura cinematográfica." Master's thesis, Instituições portuguesas -- UC-Universidade de Coimbra -- -Faculdade de Letras, 2002. http://dited.bn.pt:80/29599.

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17

Neves, Josélia Maria dos Santos José. "A adaptação de Henry James ao cinema-o caso de The Portrait of a Lady." Master's thesis, Instituições portuguesas -- -Universidade de Aveiro -- -Departamento de Línguas e Culturas, 1999. http://dited.bn.pt:80/29084.

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18

Jaguaribe, Ana Elisabete Freitas. "Os Incompreendidos, as novas prÃticas e poÃticas do cinema do CearÃ: a experiÃncia do Coletivo Alumbramento." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20132.

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nÃo hÃ<br>Esta pesquisa investiga o cinema no CearÃ, com os objetivos de compreender as novas prÃticas e poÃticas que se instauram no campo audiovisual cearense e qual a suas contribuiÃÃes para a produÃÃo nacional de cinema. O objeto de investigaÃÃo Ã o coletivo Alumbramento, grupo de jovens realizadores que emergem no cenÃrio cultural do paÃs em 2006, no Ãmbito do movimento de renovaÃÃo, nomeado como o ânovÃssimo cinema brasileiroâ e/ou âcinema de garagemâ. A investigaÃÃo trabalha a relaÃÃo cinema e sociedade, num diÃlogo com os referenciais teÃricos de Pierre Bourdieu e Raymond Williams, fil

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19

Elder, Keir. "James Barke : politics, cinema and writing Scottish urban modernity." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/0e2e9d04-334e-445a-b1b1-9fa7cbca5fa5.

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This thesis examines the early works of the Scottish novelist, playwright, would-be screenwriter, commentator and political agitator, James Barke, to argue that he was a more significant figure on the Scottish literary scene than his place in the canon would suggest. The purpose in so doing is to suggest that his writing was symptomatic of a modernisation in Scottish society and letters during the 1930s. In prosecuting this endeavour, the research considers four aspects of the author's early output: the political dimension; his aesthetic sensibilities; the impact and representation of the city

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20

Junior, José David Borges. "As máscaras de Robinson Crusoe: a representação do individualismo moderno em Daniel Defoe e Mozael Silveira." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-14112012-121342/.

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Esta dissertação visa a estudar as metamorfoses do individualismo moderno em duas produções culturais distintas, concebidas em civilizações e contextos históricos também diversos, a saber: Reino Unido, à época da Revolução Inglesa e Brasil, em tempos de ditadura militar. Para isso, realizou-se uma análise comparativa entre as obras Robinson Crusoe, de Daniel Defoe e As aventuras de Robinson Crusoé, de Mozael Silveira. Assim, foi possível verificar como a literatura e o cinema, entendidos como campos narrativos, funcionam em processos dialógicos, encenando problemáticas sociais, históricas e id

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21

Muir, Lorna. "Between discipline and control : cinematic engagements with contemporary transformations in the surveillance society." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=186203.

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This thesis examines how cinema engages with changing surveillance practices, and the hypothesised paradigm shift from discipline to control. The first part of the thesis outlines those changes in terms of three crucial areas in any discussion of surveillance – the organisation of the body, space and time. Since its publication in the 1970s, Michel Foucault’s Discipline and Punish has been a continuous influence on much social theory. However, recent developments in surveillance practices suggest that the Foucauldian model of discipline may no longer be the most appropriate theoretical framewo

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22

Bareille, Laurent. "Les représentations du « mauvais garçon » dans le cinéma japonais de 1955 à 2000, ou le questionnement à propos de l’évolution de la société japonaise par ce paradigme." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30016/document.

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Depuis la fin de la guerre la société japonaise connaît d’importants changements, le cinéma japonais traitant de son époque est on pourrait dire comme d’autres formes d’expressions artistiques un indicateur des mœurs, des fluctuations de la société, par le regard personnel d’un auteur. Nous verrons dans notre développement dans lequel nous nous arrêterons plus spécialement sur des œuvres « clé » comment par le prisme du personnage du « mauvais garçon », la vision d’un artiste, en l’occurrence un cinéaste prend le plus souvent racine dans une réalité sociale et générationnelle ; et dans le cas

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23

Barrow, Sarah Elizabeth. "Peruvian cinema, national identity and political violence, 1988-2004." Thesis, University of Sheffield, 2007. http://eprints.lincoln.ac.uk/2584/.

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The role of national cinema in shaping, reflecting and contesting a complex national identity that is the site of conflict and struggle is the central interest of this study of contemporary Peruvian cinema, 1988-2004. This project examines the relationship between cinema, state and identity in Peru, with a specific focus on the representation of the political violence between the state and Sendero Luminoso (Shining Path) that began in 1980. It looks in particular at portrayals of important events, characters and consequences of the bloody conflict that for a time threatened to destabilize the

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24

Costa, José Filipe Moreira da. "Cinema total-a experiência cinematográfica e os efeitos espectatoriais a partir da filmologia." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 2000. http://dited.bn.pt:80/29490.

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25

Maria, Cristiane Toledo. "Tradições e rupturas no cinema político de Michael Moore." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09032016-153747/.

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Esta pesquisa tem como objetivo analisar a produção fílmica do cineasta norte-americano Michael Moore, tendo como questão central a relação que se estabelece entre arte e política num momento histórico que, de um lado, aponta para a crise do capitalismo e, de outro, para a fragmentação política da classe trabalhadora. A partir da análise formal de dois de seus filmes, estabelecemos uma relação com os momentos históricos que lhes deram condições de produção, a fim de compreender o método desenvolvido pelo cineasta para lidar com a crise de representação e comunicação vivida pela arte política n

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Ferrero-Regis, Tiziana, and n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new

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27

Ferrero-Regis, Tiziana. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366053.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new

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28

Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080020.

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La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les p

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29

Serrano, Inês Domingues. "Arquitectura e cinema - metamorfoses-ritmos da cidade e tempo fílmico." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 2001. http://dited.bn.pt:80/29501.

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Silva, Eduardo Lima. "Campo do cineclubismo brasileiro : uma análise dos interesses em jogo no período de rearticulação do Movimento Cineclubista." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/129872.

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Este estudo verificou e analisou os interesses em jogo no campo do Cineclubismo Brasileiro no período de rearticulação do movimento cineclubista. Esta rearticulação ocorreu entre agosto de 2003 e dezembro de 2004. Em 2003, iniciou-se no país o processo de repensar às Políticas do Audiovisual, com a reestruturação do Ministério da Cultura e a criação da Secretaria do Audiovisual (SAV). Esta Secretaria representou uma nova perspectiva para o Cineclubismo. Em 21 de agosto, o chefe de gabinete da SAV Leopoldo Nunes organizou uma reunião com remanescentes do Conselho Nacional de Cineclubes (CNC), r

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Martin, Rojo Sara. "O virtuosismo na obra de Michael Haneke = por uma mise en scène da Sociedade Contemporânea = Virtuosity in the work of Michael Haneke : for a mise en scène of contemporary society." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284546.

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Orientador: Marcius Cesar Soares Freire<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T01:35:58Z (GMT). No. of bitstreams: 1 MartinRojo_Sara_M.pdf: 1267423 bytes, checksum: 4f139dd6a0d384ab2af2c56a24a42cc6 (MD5) Previous issue date: 2012<br>Resumo: O cinema de Haneke é um cinema de hiper-realismo; de atmosfera; que fala e responde; que traz em imagens a complexidade que caracteriza nosso questionado mundo. Este trabalho tem como foco a análise da obra do diretor austríaco Michael Haneke, através de uma revisão dos r

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Maria, Cristiane Toledo. "O cinema de Ken Loach e a refuncionalização de materiais estético-políticos." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29112010-114154/.

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Esta pesquisa visa compreender o projeto estético-político do cineasta inglês Ken Loach dentro da história da arte política, e como fruto de um processo histórico de crise da Esquerda e fragmentação da classe trabalhadora, intensificado durante a segunda metade do século XX. Observamos de que maneira a obra de Ken Loach estabelece relações entre a criação de uma forma que possua um resgate de elementos formais (como o melodrama, o naturalismo, o neo-realismo italiano e a Czech New Wave) que teriam um potencial utópico em sua origem, e a busca por conteúdos que explicitem a luta de classes. A r

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OLIVEIRA, Rodrigo Cássio. "A crítica da ideologia no cinema brasileiro: desengano, pragmatismo, cinismo." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/1418.

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Made available in DSpace on 2014-07-29T15:22:34Z (GMT). No. of bitstreams: 1 dissertacao rodrigo c oliveira.pdf: 1009404 bytes, checksum: b892ad2fb509768a95b13f776d3775b1 (MD5) Previous issue date: 2010-03-29<br>In the 1960 s, the New Brazilian Cinema questioned the import of the production model of the classic narrative movies. The rejection of the classical conventions accompanied the statement of an ideological fight against the status quo. In relationship with the nationalist left, the films thought about the critical intervention in the society. When begin the military government (1964

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Saçashima, Edilson Atsuo. "A questão da \'violência\' no Cinema de Stanley Kubrick: análise dos filmes \'Laranja Mecânica\', \'Barry Lindon\' e \'O Iluminado\'." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-03062008-151100/.

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Este trabalho investiga três filmes do cineasta Stanley Kubrick: Barry Lyndon, O Iluminado e Laranja Mecânica. Do fluxo incessante de imagens desses filmes buscaremos destacar aqueles que nos permitam discutir a questão da violência. Em nosso trabalho, não nos apoiaremos em um conceito prévio de violência. O que buscamos será discutir o problema que essa expressão nos reserva. Assim, acreditamos que também poderemos compreender um dos fenômenos constituintes da sociedade moderna.<br>This work investigate three Stanley Kubrick\'s movies: Barry Lyndon, The Shining and A Clockwork Orange. From th

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Roberts, Andrew. "The professional officer class in post-war cinema, or, How British films learned to stop worrying and love the affluent society." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/14389.

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My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how Briti

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Naveh, Jonathan. "Narratives on the Watch: Bodies, Images, & Technologies of Control in Contemporary Surveillance Cinema." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1407952133.

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Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080020.

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La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les p

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Hao, Yiren. "The Ever-changing Roles of Chinese Women in Society: A Content Analysis and Semiotic Analysis of some Contemporary Chinese Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20481.

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One major question in the area of Feminist Media Studies is to analyze the stereotypical female role portrayals in media. Researchers in this area have examined diverse media including television, radio, films, textbooks, literature and so on. Empirical evidence provided by these studies shows that women in media are often underrepresented or stereotypically portrayed in traditional roles such as housewives or mothers associated with feminine values, such as dependent, submissive, and passive. Using content analysis and semiotic analysis, this study is designed to examine the portrayals of fem

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Pereira, Cristiano Costa. "Indústria cultural e pseudoformação: a racionalidade do desenho animado mais assistido no cinema." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8396.

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Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2018-04-27T11:55:33Z No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-27T12:01:22Z (GMT) No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<b

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Bouxsein, Benjamin D. "An Analysis of the Depiction of Romantic Relationships in Western Cinema Compared to Cultural Perceptions of Relationships." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556721347157763.

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An, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.

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The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works.

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Gual, Bergas Joan Miquel. "De la picota a la piqueta: el Raval com a paisatge d'excepció a la imatge de no ficció entre La bomba del Liceu (1893) i Ciutat Morta (2015)." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392134.

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La idea del Raval com un paisatge d’excepció té una provinença triple. En primer lloc, el Raval (o Barri Xino) pot ser pensat com una geografia de les diferències radicals: degut a la seva composició social resulta pertinent la reflexió sobre la norma i l’excepció, sobre els conflictes i tensions derivats de la governamentalitat envers les i els subalterns. En segon lloc, la història del barri resulta indissociable de la història de la presó i resulta un bon cas de estudi per constatar allò que Deleuze definí com el pas de la societat de la disciplina a la societat del control. Finalment, es p

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Xue, Fei <1993&gt. "Cinema cinese e società ——Traduzione e commento traduttologico di tre capitoli del libro Il cinema asiatico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15385.

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Abstract Chinese film has a history for more than a century. The Chinese film records the great changes in politics, economy, and culture within the hundreds of years of history. Chinese filmmakers, have spread the Chinese culture to all parts of the world. Nowadays Chinese movies have gradually become an indispensable part on the important international film festival, they are constantly updating people’s understanding of China all over the world. The first chapter of the thesis focuses on the social changes in China and its impact on the development of Chinese film, the role o

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Souza, Claudia de. "A dimensão sociopolítica do documentário Dia de festa, de Toni Venturi." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2560.

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Made available in DSpace on 2016-04-25T20:21:28Z (GMT). No. of bitstreams: 1 Claudia de Souza.pdf: 1915797 bytes, checksum: 6d28acdc25bebf50421ff02cc08a38ec (MD5) Previous issue date: 2015-05-25<br>The present dissertation has as its main focus, the relation between cinema and social reality and as its object of study the documentary production and its relation to the Brazilian society; since the perception of such genre is related to other relevant questions and social problems. The documentary Dia de festa (2006), directed by Toni Venturi, was chosen to be the empiric constraint of the mai

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Пазич, Анна Романівна. "Кіно і суспільство - американський кейс другої половини ХХ століття". Bachelor's thesis, КПІ ім. Ігоря Сікорського, 2020. https://ela.kpi.ua/handle/123456789/35901.

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Кінематограф як складова масової культури органічно вплітається у соціологічні дослідження суспільства. Тому вивчення впливу кіно на суспільство та їх зв’язку дає можливість отримувати знання про суспільні процеси, поведінку, цінності, ідеології. Розглянувши історію кінематографу як частини суспільного життя другої половини ХХ століття, стає зрозумілим як взаємодіють та комунікують кіно та аудиторія; а розглянувши теорії та підходи до вивчення соціології кіно, стає можливим класифікувати способи впливу кінематографу на суспільство. Використавши метод візуального та дискурс-аналізу до найпопуля

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Ribeiro, Joana Marques. "O percurso do olhar pelo labirinto: os desafios do leitor contemporâneo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-31072012-094422/.

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A presente dissertação visa estudar os processos imbricados no percurso da atividade leitora diante da tessitura das produções artísticas contemporâneas. Para isso, primeiramente apresentaremos aspectos históricos e sociais relacionados às transformações ocorridas no mundo da linguagem e seus suportes, a fim de que possamos conceber a leitura como uma prática cultural que, há tempos, extrapola os limites do verbal. Em seguida, aprofundaremos o estudo compreendendo a leitura em seu caráter perceptivo e cognitivo, tomando como fio condutor o sentido humano da visão e observando como, a partir de

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Beltrame, Aline Boldrin. "Emilio \'Indio\' Fernández: conciliação de classes e política social no México dos anos 1940." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19022010-171755/.

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Este trabalho tem por objetivo analisar os filmes Pueblerina, Flor Silvestre e Enamorada do diretor Emílio Fernández, consagrado cineasta mexicano. Estes são considerados os mais importantes filmes desse diretor, todos realizados na década de 1940, ele um dos mais expressivos realizadores da história do cinema mexicano. As questões político-sociais, a violência são exploradas indiretamente nesses trabalhos e evidenciar este fato nosso principal ponto de conflito com a critica de cinema tradicional que sempre caracterizou estes filmes como isentos deste tipo de conteúdo nossa intenção é recolo

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Gohari, Nahid. "De la littérature au cinéma, transformation d'une écriture : le nouveau roman français et iranien et le cas de Bahman Farmânâra." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0225/document.

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Dès son apparition, l’écriture romanesque a subi de nombreux changements aussi bien au niveau de la forme que du fond, mais l’écriture romanesque s’est trouvée face à une nouvelle dimension au vingtième siècle du fait du progrès des sciences et des technologies qui ont apporté notamment le cinéma. L’influence des techniques cinématographiques sur l’écriture et la collaboration des Nouveaux Romanciers – nous pensons notamment à Alain Robbe-Grillet et Marguerite Duras, Houshang Golshiri ou encore à des cinéastes français et iraniens comme Alain Resnais et Bahman Farmânâra – ont mené à la naissan

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Oliveira, Leilane Aparecida. "Oleanna (1995, David Mamet): nos palcos e nas telas- discussões acerca do poder e da alteridade." Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/16459.

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THIS PAPER AIMS to research historical artistic events such as Theatre and Cinema, theater text Oleanna by David Mamet (1992), as well as the film adaptation (1994) and the stage adaptation Brazilian (1995) by Ulysses Cruz. Through the work and its adaptations is made a detailed analysis of each language and the context in which they were reworked. For this it was necessary to think of the role of the author and theater director and film as well as the aesthetic and thematic choices in making an adaptation, among the questions: who wins materiality in this process? Moreover, among the discussi

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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance i

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