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Dissertations / Theses on the topic 'Cinema screens'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Phillips, Wyatt D. "Stages, pages, and screens| The industrialization of genre and the early American cinema." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3602706.

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<p> This dissertation explores the development of genre in American cinema from its origins to 1914. Genre has long functioned as a structure of communication between artists and their audiences, organizing repetitions and variations among cultural products, but the Second Industrial Revolution, in the latter decades of the nineteenth century, transformed the role that genre played in the production and circulation of cultural goods. My work proposes a history of this "industrialization of genre" in correspondence with the development of practices and strategies for the emergent motion picture

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2

Jurgelaitytė, Žydrūnė. "Kino teatro lankomumo svyravimai Europos Sąjungoje 1990-2007 m." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20140626_181357-25099.

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KINO TEATRO LANKOMUMO SVYRAVIMAI EUROPOS SĄJUNGOJE 1990 - 2007 m. Santrauka Nuo 1990 metų prasidėjo kino teatro lankomumo atgimimas, užbaigęs ankstesnį tris dešimtmečius trukusį kino teatro lankomumo mažėjimą. Naujieji amerikietiško tipo kino teatrai – multipleksai – turintys 8 ir daugiau kino sales bei rodantys įspūdingus, finansiniu požiūriu itin sėkmingus filmus, sugrąžino auditoriją į kino teatrus. Bet jau 2001 metais pagal kino teatrų skaičių Europos Sąjungos 15 šalių kino rinka, charakterizuojama kaip galutinai įsotinta ir kurios neįmanoma plėsti vien tik plečiant kino teatrų tinklą. Did

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3

Enning, Tang. "Can spectators become co-authors in the process of a story narrative." AUT University, 2009. http://hdl.handle.net/10292/819.

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This project explores the areas of human perception and story narrative in moving images. Engaged by the research question, “Can spectators become co-authors in the process of a story narrative?”, the research focuses on exploring the co-existence and contradiction between the values of spectators and an author in a process of a narrative by developing a new potential narrative approach with multiple perspectives. I hypothesise that spectators could participate with the story narrative process as co-authors. My key method is to engage with spectators’ participation within a narration (story) b

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4

Gray, Ros. "Ambitions of Cinema : Revolution, Event, Screen." Thesis, Goldsmiths College (University of London), 2007. http://eprints.gold.ac.uk/3080/.

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The thesis explored the theoretical implications of the African Revolution through an examination of its radical cinematic inventions. My research investigated points where the cinema screen became a site of radical gathering and ambitions of cinema emerged that expressed a revolutionary desire. The thesis mapped out a relational geography between different late liberation struggles of the 1970s and 1980s produced by cinema in the networks of connections lived out and constructed through radical drives. The exploration of aesthetics of liberation is the point of departure to investigate how sc

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5

Szabados, Luke. "Splat! Fragmented Space in Experimental Cinema." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461940887.

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6

Joseph, Rachel. "Screened states : representations of theatre within cinema /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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7

Visona', Bianca <1988&gt. "Fundamentals on screen, tra architettura filmata e cinema esposto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6797.

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La tesi si pone come un’analisi di alcune installazioni presenti alla 14. biennale di architettura di Venezia nelle quali l'elemento filmico ha un peso rilevante. Il lavoro viene inquadrato attraverso il concetto di intermedialità come caratteristica intrinseca del cinema, che attraversa tutta la sua storia: dal cinema delle origini alla contemporaneità. Nello specifico si vedrà come la convergenza di cinema e architettura sia particolarmente significativa nel corso di tutta la storia del cinema e specialmente oggi. E’ sulla base di queste considerazioni che si prendono in esame alcuni frammen

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8

Gorini, F. M. "SHAKESPEARE AL CINEMA: HAMLET SECONDO KENNETH BRANAGH." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/173515.

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This thesis focuses on the popularization on film of William Shakespeare’s plays. If the Shakespearean pictures shot in the silent era were more similar to filmed theatre performances than to adaptations, in the 1920s the Bard’s works start to be adapted for the cinema in order to reach a new and wider audience, thus triggering the phenomenon of the popularization of his plays. This process achieves a significant phase in the 1990s thanks to Kenneth Branagh’s adaptations, which cause a revival of the genre. Branagh’s experience is crucial in that he begins his artistic career in the theatre an

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9

Gaur, Meenu. "Kashmir on screen : region, religion and secularism in Hindi cinema." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561285.

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The Kashmir dispute has led to two wars (1947-1948, 1965), serious military encounters (1999,2001) between India and Pakistan, as well as a militant and nonmilitant separatist movement seeking independence for Kashmir (1989- ). While this conflict has been subjected to sustained analysis by academics and journalists, Kashmir's centrality to the public culture ofIndia, explored here through a study of Hindi cinema, has received little to no attention in the considerable literature on the area. The articulations of Kashmir in Hindi cinema - as a paradise on earth, sacred site of Hinduism, home o

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10

Nichols, P. "The cinema of lost films : Ray Bradbury and the screen." Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3009310/.

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This thesis examines the fiction and screenwriting of Ray Bradbury (1920-2012), the American author best known for novels and short stories in the genres of science fiction and fantasy. Bradbury’s screenwriting has previously received little critical attention, but is examined here in an archival study of four of his extended film-making projects, two of which came to fruition in completed films, and two of which remain unproduced. Moby Dick (John Huston, 1956) is a strong work of structural adaptation from Herman Melville’s novel, and the experience of adapting it is shown to have had a signi

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11

Kendrick, James. "Screen violence and the New Hollywood." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167809.

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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2005.<br>Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1202. Adviser: Joan Hawkins. "Title from dissertation home page (viewed Nov. 15, 2006)."

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12

INTON, Michael Nuñez. "The bakla and the silver screen : queer cinema in the Philippines." Digital Commons @ Lingnan University, 2017. https://commons.ln.edu.hk/cs_etd/30.

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This study looks at representations of the bakla in Philippine cinema from 1954 to 2015. I argue that the bakla, a local gender category that incorporates ideas of male homosexuality, effeminacy, cross-dressing, and transgenderism, has become a central figure in Philippine cinema. I examine the films of Dolphy, the actor who was the first to popularize bakla roles in mainstream cinema, and I outline several tropes that create the bakla image in movies: “classical” kabaklaan (being bakla), which involves crossdressing, effeminacy, and being woman-hearted; the conversion trope, where the bakla s

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13

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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14

Deacy, Christopher. "Screen christologies : redemption and the medium of film /." Cardiff : University of Wales press, 2001. http://catalogue.bnf.fr/ark:/12148/cb39058742f.

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15

Ruggill, Judd E. "Licensed to shill: How video and computer games tarnished the silver screen." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/280772.

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This dissertation outlines the material and aesthetic origins of the game film in order to show how video and computer games are altering film's role in the media economy specifically, and the form and function of the mass media more generally. I argue that game cinematization is emblematic of the culture industries' (1) new economic practices and (2) aesthetic and technological convergence. Chapter One introduces the dissertation and offers a precis of the history of film-based licensing in the U.S. In the chapter, I suggest that one of the primary functions of American commercial film is to

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16

Silva, Viviane Vallades da. "Kínema-Ématos + Gráphein: estudo das experimentações do dispositivo cinema no espaço das artes visuais." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-04022015-161522/.

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Nas exposições, galerias de arte, espaço urbano, observamos atualmente a presença de numerosas obras de imagens em movimento projetadas. Estas obras se utilizam em sua construção do dispositivo cinema: projeção, tela, espaço escuro, filmes, mas produzem alterações na forma padrão dominante de apresentação associada a esse dispositivo: espectador sentado, duração imposta de observação de aproximadamente 1 a 2 horas, sala escura, projeção única e frontal sobre uma única tela, apresentada em uma sala com a arquitetura semelhante à do teatro italiano. A presente pesquisa destina-se a estudar a mig

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17

Bender, Joseph Masland. "Banlieue Stories: Mapping the Paris Suburbs On Screen, 1958-2012." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11274.

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The substantive la banlieue does not simply describe a geographical territory, but rather names a particular articulation of images and narratives that constitute the ‘banlieue question’. This dissertation tracks the development and contestation of a set of procedures that construct the banlieue as an object of knowledge, expertise, and intervention. Under the heading ‘banlieue stories’ I collect a range of media that engage with la banlieue as a discursive regime, challenging the practices and procedures through which screen media construct the banlieues as the ‘

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18

Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

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19

Meurer, Hans Joachim. "The split screen : cinema and national identity in a divided Germany (1979-89)." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/26674.

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The generic term national cinema implies that, viewed in their totality, the films of a country promote notions of collective and cultural identity. Most studies of post-war German cinema, however, focus exclusively on the former Federal Republic of Germany and concentrate on issues of authorship and the influence of literature on film rather than examining East and West German films in relation to the antagonistically opposed social systems in which they were produced. Thus, under the title The split screen: Cinema and national identity in a divided Germany (1979-89), a comparative analysis i

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20

Meurer, Hans Joachim. "Cinema and national identity in a divided Germany 1979-1989 : the split screen /." Lewistopn ; Queenston ; Lampeter : The Edwin Mellen Press, 2000. http://catalogue.bnf.fr/ark:/12148/cb388197872.

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21

Findlay, James Daniel. "Caught on Screen: The Convict Experience in Film and Television." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17582.

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Since the origins of Australian cinema, filmmakers have told stories about convicts: those men, women and children transported from their homelands whose role as founding settlers was often viewed as a stain on the country’s reputation. This thesis argues that with the rise of screen culture, convicts emerged as key historical figures who shaped and defined ideas and attitudes about Australia’s colonial past. It navigates a way through the popular representation of the convict experience in an unprecedented collection of convict-related film and television programs, from silent epics to musica

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22

Demange, Jacques. "L’acteur de cinéma à l’ère du numérique : jeu, représentation et conceptualisation." Thesis, Strasbourg, 2020. http://www.theses.fr/2020STRAC024.

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Qu’implique pour un acteur de jouer devant un fond vert, de dialoguer avec une forme de synthèse, ou de voir ses gestes et déplacements scannés sur un logiciel informatique ? La révolution numérique qui débute au cinéma à la fin des années 1970 et s’impose comme une nouvelle norme à partir du début des années 1990 a indubitablement modifié la nature de ses interprètes. Ces modifications plus ou moins marquées ont exercé une influence sur leur jeu et leur représentation, mais aussi sur leur relation avec le spectateur. Méthodologie, esthétique et médiatisation sont donc les trois axes principau

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23

MacKenzie, Scott. "A screen of one's own, Québécois cinema, national identity, and the alternative public sphere." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0017/NQ44505.pdf.

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24

MacKenzie, Scott. "A screen of one's own : québéçois cinema, national identity, and the alternative public sphere." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35007.

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This dissertation explores the connections between image-making practices, discourses of nationalism, Quebecois cinema and the possibility of the cinema functioning as an alternative public sphere. The thesis draws upon sociological theories of nationalism, political theory, film theory, critical theory and cultural critique in order to reconsider the potential political power of the cinematic image. After surveying contrasting theories of nationalism, the thesis addresses itself to Jurgen Habermas' concept of the public sphere and the revisions of this concept undertaken by contemporary socia

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25

Barrowman, Kyle. "Screen of vision : Ayn Rand and the possibilities of an objectivist aesthetics of cinema." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/119306/.

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This thesis is my attempt to establish a foundation, based on the philosophy of Objectivism as it was developed and elaborated by the Russian-American novelist and philosopher Ayn Rand, for the construction of an Objectivist aesthetics of cinema. After contextualizing and explicating Rand's philosophy, I make the case that, propaedeutic to the construction of a new aesthetics of cinema, it is incumbent upon film scholars to refute the irrational and immoral philosophical premises that have long been destroying the philosophy of art in general and the discipline of film studies in particular. D

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26

North, Joseph Albert. "Martyrs on the silver screen : Early Church martyrdom in Italian silent cinema (1898-1930)." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11728/.

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While the historical film genre and works like Quo Vadis (1913) and Cabiria (1914) have long been considered as highpoints for Italian silent cinema, the religious aspects of the genre have remained little-explored. My thesis examines screen representations of the Early Church martyr between 1898 and 1930, investigating one illustrated lecture series, nine one-reel films and seven feature films. The early chapters set out the cinematic and intertextual contexts within which these films appeared, from the religious novels of the mid-nineteenth century to the Catholic film sector of the early 19

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27

Rashidi, Bahareh. "Divided screen : the doppelgänger in German silent film." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/6578.

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The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experienc

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28

MacMurraugh-Kavanagh, M. K. "A suitable case for treatment : stage-to-screen adaptation 1977-1990." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259481.

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29

Bradbury-Rance, Clara Frances. "Figuring the lesbian : queer feminist readings of cinema in the era of the visible." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/figuring-the-lesbian-queer-feminist-readings-of-cinema-in-the-era-of-the-visible(56f6f528-9dc6-4eae-bba6-154f66dfcb05).html.

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Lesbianism has received unprecedented screen time in the cinema in the first fifteen years of the twenty-first century. This marks a significant shift away from a prior invisibility, historically interrupted only by invocations of pathologisation, isolation and tragedy. At the same time, critical discourses have increasingly replaced identity categories such as “the lesbian” with the more fluid notions of “queer” sexuality. In this paradoxical context, this thesis identifies and theorises the kinds of cinematic language through which the figure of “the lesbian” has continued to be made legible

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30

Haiduc, Sonia Amalia. "Writers On Screen: Embodying The "Life-Text" In The Literary Biopic." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672140.

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This thesis examines the sub-genre of the literary biopic and its intersections with literary texts and other film genres through the lens of the melodramatic mode. It explores the dramatization of the ‘life-text’, defined as the process by which events in the non-discursive space-time become discursive elements in written and film biography, by looking at the figure of the author in a selection of literary biopics from the classical Hollywood era to 2018. The number of studies on the biopic is reduced, but those that have been published so far have not examined the strategies of t

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31

Mohammad, Javaheri Saharnaz. "Architecture and Film." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64804.

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Film does not exist without architecture. In every movie that has ever been made throughout history, the cinematic image of architecture is embedded within the picture. Throughout my studies and research, I began to see that there is no director who can consciously or unconsciously deny the use of architectural elements in his or her movies. Architecture offers a strong profile to distinguish characters and story. In the early days, films were shot in streets surrounded by architecture, and then they were projected on the exterior walls of buildings where the audience could come and watch. He

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32

Walbrou, Sonny. "Pour une histoire critique au prisme des rapports du corps à la machine, entre le cinéma, jeu vidéo et culture spectaculaire fin-de-siècle : continuité critique, innervation, attraction." Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H037.

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Entre hier et aujourd’hui, entre la culture spectaculaire de la fin du XIXe siècle, le cinéma et la pratique des jeux vidéo, cette thèse explore les enjeux critiques d’une pensée des rapports du corps à la machine au prisme de la notion benjaminienne d’innervation. A partir d’une notion historiographique élaborée au sein de la thèse, celle de « continuité critique » qui consiste à déterminer des phénomènes de permanence à travers l’histoire, notre travail vise à définir une critique opératoire des nouveaux médias. Depuis les notions d’innervation et de continuité critique, nous étudions dans u

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33

Collazzi, André Meirelles. "A exclusão do roteiro no financiamento da cadeia produtiva do filme no Brasil." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-21122014-154706/.

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A presente dissertação se dedica a mapear a organização do trabalho na atual cadeia produtiva do audiovisual na cidade de São Paulo, por meio da análise das atuais formas de produção do cinema e do atual modelo de financiamento do setor, com o objetivo de evidenciar seus principais elos e suas principais vulnerabilidades. Um setor identificado como vulnerável, porém, pouco evidenciado, está localizado no início da cadeia produtiva o desenvolvimento de projetos. Essa etapa, que inicia todo o processo do filme, está muito centrada na figura de um profissional o roteirista. Portanto, esta pesq

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34

Bugaj, Malgorzata. "Visceral material : cinematic bodies on screen." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10653.

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This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and

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35

Trowbridge, Hayley. "From the cinema screen to the smartphone : a study of the impact of media convergence on the distribution sector of American independent cinema 2006-2010." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2010341/.

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Film distribution has undoubtedly changed during this contemporary era of media convergence, with a range of innovative practices and methods being adopted across US film and the arrival of new organisations to the industry and distribution sector. This should not suggest that conventional distribution and marketing methods are extinct, or that the traditional gatekeepers of these fields are obsolete. Rather it should indicate a merging of old and new strategies, practices, methods, and organisations, and it is through this fusion of tradition and novelty that today’s complex distribution land

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Prasannam, Natthanai. "Mnemonic communities : politics of World War II memory in Thai screen culture." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12247.

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This thesis examines the politics of World War II memory in Thai screen culture with special reference to films and television series produced between the 1970s and the 2010s. Framed by memory studies and film studies approaches, the thesis hopes to answer 1) how WW II memory on screen is related to other memory texts: monuments, museums and commemorative rituals and 2) how the memory is coded by various genres: romance, biopic, combat film and horror. The project relies on a plurimedial network which has not yet been extensively studied by film scholars in Thailand. Through the lens of memory

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Szakonyi, Mark. "Cinema screen reflections from 1920s to present how film portryals of print journalists have affected their identities /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5982.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on month November 9, 2007) Includes bibliographical references.

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Adams, Megan E. "Flicking the Bean on the Silver Screen: Women’s Masturbation as Self-Discovery and Subversion in American Cinema." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300749024.

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Eastland, Elizabeth. "Telling stories out of school: reframing scientific research through narrative: a multi-screen direct cinema film installation of four female scientists." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12777.

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This project employs the emerging art practice of participant observation ‘direct cinema’ and the emerging ‘cross-over’ discipline art/anthropology to examine and critique scientific investigative processes from the perspective of female scientists and presents its findings employing structuralist filmmaking approaches. While there have been some anthropological studies of scientists, to the best of my knowledge there have been no participant observational films of the scientific community. This thesis brings new insights into the practice of science by analysing and critiquing scientific inv

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CARVALHO, CARLOS DE AQUINO. "THE SCREEN STAINED BY BLOOD A STUDY OF THE MYTH OF THE REAL URBAN OUTLAW IN THE BRAZILIAN CINEMA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3287@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>O presente trabalho busca investigar o mito do bandido urbano e as nuances de sua representação no cinema brasileiro. Analisa um conjunto de 11 filmes da produção cinematográfica dos últimos 50 anos, assim como a origem da construção desse mito na imprensa e sua exploração pela mídia contemporânea.Como pano de fundo, mostra as mudanças no perfil do bandido, a entrada de novos agentes no mundo da criminalidade e a escalada da violência como uma marca da sociedade brasileira.<br>This study investigates the myth of the real u

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Dalmasso, Anna Caterina. "Le corps c'est l'écran. La philosophie du visuel de Merleau-Ponty." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30047.

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Pour Merleau-Ponty, l’exigence de repenser la rationalité contemporaine au-delà du dualisme de sujet et objet implique et s’entrelace avec la question du regard, conçu non pas en tant que point d’où se produit une vision du monde, mais comme événement dans lequel le sujet et le monde naissent l’un à l’autre dans un seul mouvement de co-naissance. Le visible alors, et notamment ce type particulier de visible qu’est l’image, est compris comme le point où il en va de la rationalité et de l’Être, en même temps qu’il est pensé dans sa dimension historique, en vertu de son apparition phénoménale et

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Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.

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Seo, Jung-Ah. "La présence de l'objet dans le cinéma de Robert Bresson." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030008.

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Le « cinématographe » de Robert Bresson vise à atteindre la vérité du réel d’une façon différente du « cinéma », considéré comme le théâtre photographié. Le cinéma de Robert Bresson, qui est également le résultat de l’application de sa théorie, est constamment dans la négativité de l’image représentative. Le montage bressonien décompose le raccord classique et fragmente l’espace narratif. Dans ce contexte, l’objet dans le cinéma de Bresson, sans appuyer sur le rôle narratif et le sens symbolique, contribue à décomposer la cohérence et la continuité du récit filmique. Comparable à la nature mor

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Green, Stuart Nishan. "From screen to state : the influence of classical Hollywood cinema on the theatre of the Other Generation of 1927 in Spain." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434991.

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Olivé, Ferreira Isadora Marilia. "The screen-as-skin theory : rapid plasticity of human body schema during moving image viewing." Paris 8, 2010. http://www.theses.fr/2010PA083545.

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Le présent travail étudie le phénomène de dominance de la modalité visuelle sur les autres modalités sensorielles, et notamment la modalité tactile, pendant le processus de plasticité rapide du schéma corporel humain. Nous chercherons à démontrer que les limites du schéma corporel humain sont redéfinies pendant le visionnement de l’image en mouvement, exhibant une tendance évidente à s’orienter vers le support de la stimulation visuelle. Le travail théorique, basé sur l’analyse de l’effet démontré dans la littérature scientifique pour les sensations épidermiques, a été suivi par un travail de

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Slock, Ken. "Maurice Merleau-Ponty et Jean Epstein. La science secrète du cinéma." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030165.

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Cette thèse tente d’initier un dialogue entre la philosophie de Maurice Merleau-Ponty et l’oeuvre théorique du cinéaste Jean Epstein. Située à la frontière poreuse entre la phénoménologie et l’esthétique du cinéma, elle souligne la profondeur de l’approche proposée et permise par la pensée de Merleau-Ponty, en particulier à travers les pistes ouvertes par ses notes préparatoires du cours Le monde sensible et le monde de l’expression (1953), publiées en 2011. Cette recherche adopte donc une perspective réflexive et interrogative sur la posture du phénoménologue. La première partie met en avant

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Souladié, Vincent. "Déchirer le visible : le cinéma américain après le 11 septembre 2001." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20064.

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Les attentats commis sur le sol américain le 11 septembre 2001 ont transi quasi simultanément une incommensurable communauté de regards. Cette participation scopique plurielle a très vite suscité des analogies avec le cinéma-catastrophe, immense pourvoyeur de fictions d’apocalypse urbaine, accusé d’avoir inspiré les commanditaires de l’attentat, d’avoir déréalisé toute catastrophe et de ne pas nous avoir préparé à son surgissement dans la réalité, ou désigné encore comme mètre-étalon de nos fantasmes apocalyptiques auxquels les images médiatiques ont dû se mesurer au point de déréaliser l’évén

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Taylor, Cory Jane. "What happens next? " Telling " the Japanese in contemporary Australian screen stories." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16253/.

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This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian fi

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Holtsclaw, Anita. "To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76536/1/Anita_Holtsclaw_Thesis.pdf.

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To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, d

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Guétin, Marie-Laure. "Le XIXe siècle dans le cinéma de Luchino Visconti : scènes et poétique du décor." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100151.

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Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à s

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