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Dissertations / Theses on the topic 'Cinema, India'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Roy, Srabanti. "Changing trends of new wave cinema in India and the emergence of an "unconventional" Indian cinema in the early phase of the twenty-first century." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683056.

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2

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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3

Saini, Roopa. "Crossing boundaries : Indian diasporic screen culture in the USA and UK." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517894.

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4

Kilaru, Sunilrao Mohanrao M. ""Tales of My Cities"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.

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Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.

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5

Biswas, Moinak 1961. "Historical realism : modes of modernity in Indian cinema, 1940-60." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7582.

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6

Hardy, Jennifer. "Bollywood style: the melodramatic lens." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21168.

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Thesis (M.F.A.)<br>The purpose of this project is to redefine the word "Bollywood" as more than a regional or cultural cinema, focusing instead on the unique style of the films that is often neglected or dismissed by film critics. The aspects explored are the development of Bollywood style from 1995 to the mid 2000s as exhibited by the films Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Dhoom (2004), and a subsequent development of a reflexive neo-Bollywood style beginning in the mid-2000s, exhibited by the films Rab Ne Bana Di Jodi (2008), Dhoom 2 (2006), and Chennai Expr

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7

Sircar, Ajanta. "Framing the nation : languages of #modernity' in India." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361480.

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8

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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9

McHodgkins, Angelique Melitta. "Indian Filmmakers and the Nineteenth-Century Novel: Rewriting the English Canon through Film." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1130955416.

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Thesis (M.A.)--Miami University, Dept. of English, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).

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10

Sathe, Namrata. "You Only Live Once: Bollywood, Neoliberal Subjectivity and the Hindutva State." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1812.

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In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to tran

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11

de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.

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My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular

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12

Skagen, Sølve Skarås. "Bollywood-filmen Devdas : en religionshistorisk analyse /." Oslo : Institutt for kulturstudier og orientalske språk, Universitetet i Oslo, 2007. http://www.duo.uio.no/publ/IKOS/2007/62072/skagen_religionsmaster.pdf.

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13

Mullik, Gopalan. "Cinema and wild meaning : phenomenology, classical Indian theories and embodiment in cinema." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/63132/.

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The aim of this project has been to explore the possibility of applying Phenomenology and Classical Indian Theories to cinema with the hope that their systematic application would generate new insights in a deeper understanding of cinema. This need has been felt in the context of the existing film discourse having reached a stage of stagnation, even a “crisis”, in recent times. The reason for this moribund state of contemporary film discourse has been analyzed in my thesis as due to the failure of the existing film theories to incorporate film audiences‟ ordinary experiences of cinema, viz. th

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14

Srour, Nemesis. "Bollywood Film Traffic. Circulations des films hindis au Moyen-Orient (1954-2014)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH185.

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En 1965, la présence de films indiens dans la région arabe fait débat. La popularité des films indiens est perçue comme une « invasion » par certains, tandis que les raisons de ce succès sont formulées en termes essentialistes, comme « une sorte de spontanéité innée » par l’historien du cinéma Georges Sadoul (Centre interarabe du cinéma et de la télévision 1965). Pour restituer ces ambivalences, l’objet de ce travail n’a pas été d’offrir les arguments d’une connivence culturelle entre les films indiens et les pays arabes, mais de documenter les circulations des films, participant d’une histoir

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15

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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Narain, Atticus Che deCaires. "The role of Indian cinema amongst Indo-Guyanese." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445022.

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17

Ghosh, Sanjukta T. "Celluloid nationalism : cultural politics in popular Indian cinema /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759914758891.

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18

Kessous, Hélène. "La blancheur de la peau en Inde. Des pratiques cosmétiques à la redéfinition des identités." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH168.

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Le succès des crèmes blanchissantes en Inde n’est plus à démontrer. Qu’il s’agisse des crèmes pour le visage de Fair & Lovely (F&L) ou des savons blanchissants pour la toilette intime, chaque partie du corps semble soumise à l’injonction de la blancheur. Dans les années 1990 et la libéralisation du marché économique, F&L qui avait régné en maître pendant 30 ans, voit ses parts de marché se réduire. Concurrence indienne, concurrence occidentale, si le développement du marché dit des cosmetics joue un rôle important dans cet engouement pour la blancheur, il ne doit

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19

Silva, Juliano Gonçalves da. "O indio no cinema brasileiro e o espelho recente." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285028.

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Orientador: Fernão Pessoa de Almeida Ramos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T12:13:38Z (GMT). No. of bitstreams: 1 Silva_JulianoGoncalvesda_M.pdf: 1133169 bytes, checksum: a80fa3411446a287d242d5f971f3ff85 (MD5) Previous issue date: 2002<br>Resumo: O trabalho realiza uma análise da imagem do índio no cinema brasileiro, através do estudo de como o personagem indígena é por ele construído e veiculado através dos filmes de ficção. Realiza um levantamento da filmografia onde o personagem aparece e analisa, c

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20

Williams, Jennifer Ashley. "Vignettes of Bollywood 1990-present: a scholarly approach to Indian cinema." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3340.

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This project highlights the importance of the Indian film industry as a legitimate field of scholarly and academic research. Through interdisciplinary eyes, the Indian film industry and its byproducts are examined through a multitude of different approaches including gender, film, and cross-cultural studies. The films mentioned in this research are the highest grossing, have the most famous actors and actresses, and are from the 1990s to present. Films were watched with a critical eye to see what exactly was shown and examined. Other scholars’ and critics’ work was read, films discussed, and c

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21

Valančiūnas, Deimantas. "Construction of Identity in British and Indian Cinema: a Postcolonial Approach." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20131129_114315-79626.

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The object of the dissertation is British and Indian popular (commercial) cinema and the construction of identity there. The problem of identity construction in Indian and British films was researched employing three approaches found in the postcolonial theory: the critique of colonial discourse, anticolonial nationalism and the construction of national identity and the problematics of diasporic identity. The comparative analysis of the films from the two industries of the countries which were bounded by colonial relationships in the past let us see the complex ways of how identity is articula

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22

Manley, Sebastian. "The cinema of Hal Hartley : place, cultural identity and indie authorship." Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/35556/.

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23

Kumar, Akshaya. "Provincialising Bollywood : Bhojpuri cinema and the vernacularisation of North Indian media." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6520/.

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This thesis is an investigation of the explosive growth of Bhojpuri cinema alongside the vernacularisation of north Indian media in the last decade. As these developments take place under the shadow of Bollywood, the thesis also studies the aesthetic, political, and infrastructural nature of the relationship between vernacular media industries – Bhojpuri in particular – and Bollywood. The thesis then argues that Bhojpuri cinema, even as it provincialises Bollywood, aspires to sit beside it instead of displacing it. The outrightly confrontational readings notwithstanding, the thesis grapples wi

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24

Datta, Pulkit. "Bollywoodizing Diasporas: Reconnecting to the NRI through Popular Hindi Cinema." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209924713.

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25

Sengupta, Aparajita. "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/129.

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In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. This dissertation conducts a study of the cinema from India with a view to examine the extent to which such cinema represents an anti-colonial vision. The

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26

Lim, Michael Kho. "Pinoy Indie, Inc. : the cultural economy of distribution and Philippine independent cinema." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/96243/.

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This thesis investigates the cultural economy of film distribution set against the backdrop of Philippine independent cinema. Considered as the business centre of filmmaking, film distribution is typically studied from an economic perspective and traditionally falls outside the remit of film studies. However, the role that economics play in filmmaking cannot be regarded as an exclusive object or subject in the field of business and economics and not of the arts, since film is both a cultural good and economic commodity. As such, this thesis offers a more balanced viewpoint by taking on a human

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27

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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28

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.<br>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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29

Karathozhuvu, Suresh Janani [Verfasser]. "Bharatanāṭyam Repertoire and its Female Performers in Early Indian Cinema / Janani Karathozhuvu Suresh". Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1227481225/34.

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30

Wright, Neelam Sidhar. "Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2360/.

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This thesis uses postmodern theory to explore aesthetic shifts in post-millennial Bollywood cinema, with a particular focus on films produced by the Bombay film industry over the past nine years (2000-2009) and the recent boom of Hindi cross-cultural and self-remakes. My research investigates reasons behind the lack of appeal of Bollywood films in the West (particularly in their contemporary form), revealing how our understanding and appreciation of them is restricted or misinformed by a long history of censure from critics, scholars, educators and ambassadors of the Indian cinema. Through my

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31

Vasudevan, Ravi. "Errant males and the divided woman melodrama and sexual difference in the Hindi social film of the 1950s /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.303507.

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32

Edaghri, Karima. "Problèmes de l'énonciation dans le discours filmique." Paris 3, 1991. http://www.theses.fr/1992PA030036.

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Il s'agit de rendre compte d'india song , film realise par marguerite duras en 1975. L'analyse de ce film fait apparaitre l'impact de la singularite du dispositif enonciatif sur le systeme significatif. L'etude de l'identite des personnages et des voix ainsi que l'examen de l'ecriture restent au centre de ce travail. L'interet d'une telle recherche reside dans le fait de traiter semiotiquement un objet filmique<br>It is about taking account india song, a film realized by marguerite duras in 1975. The analysis of this film makes appear the influence of the enonciative singularity on the signifi

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33

Zannia, Imelda Romero Wismann. "Entre heroínas y vampiresas : la representación del empoderamiento de los personajes femeninos en Bollywood a través de The Dirty Picture (2011), Queen (2014) y Pink (2016)." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/14877.

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34

Indraganti, Kiranmayi. "Unheard voices : a social and cultural history of female playback singers in Indian (Telugu) cinema." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546480.

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35

Le, Forestier Mélanie. "Imaginaires nationaux et dynamiques transnationales : étude du cinéma hatke en Inde." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20073/document.

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Le cinéma indien est structuré en plusieurs industries cinématographiques régionales autonomes, chacune s’appuyant sur des caractéristiques linguistiques et socioculturelles différentes. Ce contexte est traversé par des problématiques identitaires conflictuelles, dont celle du rapport au national. Le cinéma hindi (Bollywood) est souvent présenté comme le cinéma national en Inde, aux dépends des « autres » cinémas régionaux. Peut-on toutefois parler de cinéma « national » en Inde ? Nous avons voulu examiner cette question à travers l’étude d’une forme cinématographique émergente que nous avons

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36

Roy, Piyush. "Aesthetics of emotional acting : an argument for a Rasa-based criticism of Indian cinema and television." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22910.

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The thesis explores elements of Sanskrit drama studies, its philosophy of aesthetics, Hindu theology and Indian cinema studies. It seeks to identify and appreciate the continual influence of a pioneering and influential idea from the Indian subcontinent’s cultural memory and history – the ‘theory of aesthetics’, also known as the ‘Rasa Theory’. The rasa theory is a seminal contribution of the ancient Indian Sanskrit drama textbook, the Natyashastra, whose postulates have provided a definitive template for appreciating and analysing all major fine arts in the Indian sub-continent for over two m

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37

Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.

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Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans

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Koul, Priyanka. "Indian Diasporic Identity Explored Through Reel and Real Space." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282049647.

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Corona, Fernando Beretta Del. "“Todos os olhos estarão em você”: O quadro cinematográfico na obra de Sofia Coppola." Universidade do Vale do Rio dos Sinos, 2018. http://www.repositorio.jesuita.org.br/handle/UNISINOS/7129.

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Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-02T13:43:00Z No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5)<br>Made available in DSpace on 2018-08-02T13:43:00Z (GMT). No. of bitstreams: 1 Fernando Beretta Del Corona_.pdf: 4050624 bytes, checksum: 799d20c962674faef9e36c063091e725 (MD5) Previous issue date: 2018-03-28<br>Nenhuma<br>Esta pesquisa buscou compreender como se dá a construção do quadro cinematográfico dentro da obra da cineasta norte-americana Sofia Coppola a partir da análise de cinco de seu

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Girier, Jean-Philippe. "De la déconstruction du mythe de la femme soumise à la construction de la femme agent dans la littérature et le cinéma indiens contemporains." Thesis, Antilles, 2019. http://www.theses.fr/2019ANTI0382.

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La littérature et le cinéma Indiens contemporains s’inscrivent dans une dynamique qui va de pair avec les profondes mutations socio-économiques qui touchent l’Inde depuis la fin des années mille neuf cent quatre vingt. En effet, de nombreux romans et films se caractérisent par une liberté d’expression qui aborde de nombreux sujets autrefois considérés comme tabous. Le vent du renouveau qui balaie l’Inde est également marqué par l’augmentation du nombre d’auteures et de réalisatrices qui placent la femme au coeur de leurs récits et de leurs intrigues. Ainsi, l’objectif de cette étude est de mon

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PEREIRA, Allan Kardec Da Silva. "Imagens que pensam o outro: o índio no cinema de John Ford." Universidade Federal de Campina Grande, 2015. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/483.

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Submitted by Jesiel Ferreira Gomes (jesielgomes@ufcg.edu.br) on 2018-04-24T23:59:32Z No. of bitstreams: 1 ALLAN KARDEC DA SILVA PEREIRA – DISSERTAÇÃO (PPGH) 2015.pdf: 6621130 bytes, checksum: 93a2ef91fcf44975891d891a1c29203a (MD5)<br>Made available in DSpace on 2018-04-24T23:59:32Z (GMT). No. of bitstreams: 1 ALLAN KARDEC DA SILVA PEREIRA – DISSERTAÇÃO (PPGH) 2015.pdf: 6621130 bytes, checksum: 93a2ef91fcf44975891d891a1c29203a (MD5) Previous issue date: 2015-04<br>Capes<br>O presente estudo aborda a imagem do índio no cinema de John Ford. Para além de uma mera descrição dos filmes, empree

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Os?rio, Moreno Cruz. "Maria Antonieta: uma abordagem cinematogr?fica do indiv?duo contempor?neo." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2013. http://tede2.pucrs.br/tede2/handle/tede/4535.

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Made available in DSpace on 2015-04-14T14:41:48Z (GMT). No. of bitstreams: 1 447485.pdf: 7207682 bytes, checksum: c9411e0d82c63e53b80c713873e8b6ea (MD5) Previous issue date: 2013-03-27<br>This research analyzes the film Maria Antonieta and aim to demonstrate that the work directed by American Sofia Coppola is able to provide a meaning related to existential condition of the individual in the contemporaneity. For that, performs two major efforts. First, it defines this individual using the sociology of Zygmunt Bauman e Michel Maffesoli, specifically their position about the situation of conte

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Estrada, Gabriel S. "In nahui ollin, a cycle of four indigenous movements: Mexican Indian rights, oral traditions, sexualities, and new media." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280008.

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Pre-existing more hegemonic theories of Cultural Studies, Hispanic Studies, Media Arts, and Queer Studies, Nahuatl cosmologies offers an evolving political grounding for Native scholars. A Nahuatl cosmology of four directions represents a circle of masculinity, elders, femininity, and youth and forms the epistemology by which one can view Nahuatl and Xicana/o culture. In the east, Indigenous Rights directly relate to the hegemonic oppressions such as war, prison, and heterosexism that many Indigenous men face. Indigenous peoples fight those hegemonies with international legal concepts and thro

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Santos, Naijane Aparecida dos. "O cinema brasileiro na aula de l?ngua portuguesa: o g?nero discursivo ?indica??o de filmes? e sua interatividade com o leitor." Universidade Estadual de Feira de Santana, 2016. http://localhost:8080/tede/handle/tede/547.

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Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2018-01-23T22:15:11Z No. of bitstreams: 1 Disserta??o Naijane Santos revisado pdf atual.pdf: 4352813 bytes, checksum: 9eb62e700ec567e60d097f60ccae6540 (MD5)<br>Made available in DSpace on 2018-01-23T22:15:11Z (GMT). No. of bitstreams: 1 Disserta??o Naijane Santos revisado pdf atual.pdf: 4352813 bytes, checksum: 9eb62e700ec567e60d097f60ccae6540 (MD5) Previous issue date: 2016-11-28<br>We began this research with a question: is it possible to enhance the involvement of students in the maternal language through compleme

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Lossio, Chávez Felix, and Negrete María del Carmen Vargas. "Sueños de oriente. Consumo de cine de la India y telenovelas coreanas en el Perú [Capítulo 1]." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/565065.

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¿Qué genera que miles de jóvenes peruanos sean fieles consumidores de películas de la India y de telenovelas coreanas? ¿Qué tipo de discursos sociales son producidos por estos referentes y cómo se puede explicar su resonancia en los jóvenes del Perú? Estas son algunas preguntas que guiaron las inquietudes de Felix Lossio Chávez y María del Carmen Vargas Negrete, autores de esta publicación, y conllevaron a la investigación de los espacios y las dinámicas del consumo de las películas de la India y telenovelas coreanas en el Perú. Los autores están convencidos que las industrias culturales son u

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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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HILL, Mathew J. K. "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1915.

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As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study exa

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Cabeza, Gutés Elisabet. "Indis, cowboys i mestresses de casa. Construcció i deconstrucció d'arquetips del somni americà al western i melodrama de Hollywood dels anys 50." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/377755.

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Indis, cowboys i mestresses de casa. Construcció i deconstrucció d'arquetips del somni americà al western i melodrama de Hollywood dels anys 50 és una tesi doctoral que torna sobre els clàssics del cinema que han definit el cànon dels dos gèneres esmentats. S'observa com operen sobre el somni americà, un concepte que malgrat tenir una arrel geogràfica i temporalment precisa té un abast universal. L'objectiu és argumentar que, si bé el cinema nord-americà ha ajudat a gestar aquests arquetips, són les mateixes produccions dels grans estudis de Hollywood les que inviten a qüestionar-los en un con

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Mendes, Luciana de Andrade. "Estudo comparativo da marcha de indiv?duos hemipar?ticos no solo e na esteira." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16670.

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Made available in DSpace on 2014-12-17T15:16:05Z (GMT). No. of bitstreams: 1 LucianaAM.pdf: 1360792 bytes, checksum: a53d6091c0577b68061a06469713e2cf (MD5) Previous issue date: 2009-07-07<br>The purpose of the study was to compare hemiparetic gait overground and on the treadmill. Seventeen chronic stroke patients were included in the study. They walked overground and on a treadmill level at the same speed. The Qualisys Medical AB motion analysis system was used to quantify the joint kinematic of the paretic lower limb and the spatio-temporal parameters on the two conditions: overground walki

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Moreno, Cinthia de Carvalho. "Efeitos da inclina??o da esteira na marcha de indiv?duos hemipar?ticos cr?nicos." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16669.

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Made available in DSpace on 2014-12-17T15:16:05Z (GMT). No. of bitstreams: 1 CinthiaCM.pdf: 1643758 bytes, checksum: 780296e85126b7452d8008cb3a39496b (MD5) Previous issue date: 2009-07-29<br>Objective: To examine the effects of treadmill inclinations on the walking of hemiparetic chronic subjects. Design: Observational descriptive study. Location: Laboratory of human movement analysis. Participants: Eighteen subjects, 10 men and 8 women were evaluated, with a mean age of 55.3 ? 9.3 years and the time since the injury of about 36 ? 22.8 months. Intervention: Not applicable. Main Outcome Measu

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