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Dissertations / Theses on the topic 'Classic Hollywood'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Richards, Rashna Wadia. "Lightning flashes a cinephiliac history of Classic Hollywood /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0015522.

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2

Fagan, Kara Elizabeth. "The spectacle of female athleticism in classic Hollywood, 1935-1955." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2073.

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Focusing on classic Hollywood, I contend that overly narrow concepts of both “sport” and “sport(s) film” have contributed to the scholarly neglect of key texts and characters from this period. Just as a wider analysis of the history of women’s athletic participation has expanded definitions of “sport,” scholars need to consider examples that complicate conventional understandings of sport films. This dissertation focuses on the female athletic performances during the studio era that -- precisely because they deviate from t

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3

Salzberg, Ana. "Beyond the looking glass : the narcissistic woman reflected and embodied in classic Hollywood film." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5600.

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Linking the images of stars as contrasting as Bette Davis, Marilyn Monroe, and Gloria Swanson, and uniting genres like romantic comedy, film noir, and melodrama, the figure of the narcissistic woman stands as a versatile, ever-present extra- and intra-diegetic force in the dream factory of classical Hollywood. She is, in fact, the lead in what sociologist Edgar Morin conceptualizes in The Stars (1957) as a golden-age “myth of love”: Calling upon the psychic and sensory investment of her fans with her otherworldly aura and material impact, the female star emerges as both the active subject of r

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4

Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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5

Johnson, Jeb E. Mr. "Exploring Hollywood Cinema: A Look at Cinematic Techniques and the Classical Hollywood Ideology." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/350.

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The focus of this thesis is to explore the ideas behind Hollywood Cinema and techniques used to craft camera shots of today’s cinema. The movie industry is one of the United States’ biggest export profits; because of this, American movies standout above the rest. I will be exploring and demonstrating the researched techniques of American cinema.

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6

Gruffman, Mathias. "Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema." Thesis, Örebro University, Department of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1555.

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<p>This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Ho

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7

Lane, Christina Merrel. "Hollywood star couples : classical-era romance and marriage /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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8

Kydd, Elspeth. "'Touched by the tar brush' : miscegenation and mulattos in classical Hollywood cinema." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Reg_Diss_05.

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9

Kretschmar, Kelly Benshoff Harry M. "Framing femininity as insanity representations of mental illness in women in post-classical Hollywood /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3654.

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10

Kretschmar, Kelly. "Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3654/.

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From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends

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11

Al-Ajmi, Sara. "Negotiating the representations of Arabs in Hollywood films : perspectives and interpretations of young Kuwaitis." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6288/.

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It is widely acknowledged that films have the capability to act as a tool to perpetuate stereotypes, promote a certain ideology, and influence audiences. Hollywood films have been accused of endorsing stereotypes and promoting prejudicial attitudes towards Arabs for more than a century. This study explores the nature of Arab representations in Hollywood films. More importantly, the study sets out to investigate how young Arabs from the State of Kuwait negotiate and interpret the way Hollywood represents Arabs in its productions. In order to understand how Kuwaiti audiences interpret Arab repre

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12

Chapman, Sharon Jeanette. "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1258.

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13

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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14

Yaquinto, Marilyn. "POLICING THE WORLD: AMERICAN MYTHOLOGIES AND HOLLYWOOD'S ROGUE COP CHARACTER." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143469295.

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15

Bartone, Christopher A. "News Media Narrative and the Iraq War, 2001-2003: How the Classical Hollywood Narrative Style Dictates Storytelling Techniques in Mainstream Digital News Media and Challenges Traditional Ethics in Journalism." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1149531650.

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16

CHIARULLI, RAFFAELE ROSARIO. "Strutture drammaturgiche e tecniche di scrittura del cinema americano classico : casi di intertestualità tra teatro e cinema." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1533.

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Questa tesi è un’esplorazione dei rapporti tra il segno teatrale e il segno cinematografico attraverso la prospettiva degli sceneggiatori e della sceneggiatura nel cinema hollywoodiano classico. Presenta problematiche che riguardano la sceneggiatura come pratica, forma d’arte, oggetto di discussione, mezzo di espressione e risultato di una messa in campo di propositi, valori e significati.<br>This doctoral thesis is an analysis of the relationships between the "theatrical sign" and the "cinematographic sign" from the perspective of screenwriters and of Classic Hollywood screenwriting. It intro

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17

Bas, Pierre. "Les interrelations entre le monde réel et le monde du fantasme dans le classicisme hollywoodien." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA088.

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Le classicisme hollywoodien permet d’explorer la variété des sens que revêt au cinéma le concept de réalité à partir de fragments de réalité matérielle enregistrés, du réalisme ontologique qui s’y attache, de la réalité diégétique qui constitue l’univers des films, et de la réalité philosophique, qui renvoie le spectateur à son être propre par le partage de l’expérience de personnages auxquels il s’identifie. Par l’instrumentalisation de ces réalités relatives, Hollywood crée une nouvelle forme de récit qu’alimenteront la littérature, les mythes et la psychanalyse, participant à la diffusion d

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18

Ekenberg, Jonatan. "Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289.

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Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i det klassiska- respektive konstfilmsberättandet och jämför vidare de typiska elementen från de två berättarmodellerna med formatet slow cinema. I definitionen av slow cinema utgår jag ifrån filmvetaren Matthew Flanagans utredning av vad formatet innebär samt de tre byggstenarna han anser vara mest väsentliga. Dessa är långa tagningar, en ickeberättande struktur och skildringar av realistiska,

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19

Bernsmeier, Jordan. "From Haunting the Code to Queer Ambiguity: Historical Shifts in Adapting Lesbian Narratives from Paper to Film." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386011853.

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20

Olivero, Massimo. "Figures de l'extase. Une esthétique des limites de la représentation filmique de Serguei M. Eisenstein à Orson Welles." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030092.

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Ce travail se propose d'interroger le problème des limites de la représentation du cinéma de l'âge classique (1920-1960) à partir de l'esthétique organique-pathétique conçue par Sergueï Eisenstein dans la Non-Indifférente Nature, qu'il nomme « formule de l'extase ». Après avoir montré l'existence d'une double nature de l'extase chez Eisenstein (en même temps eidétique et régressive), ce travail montre les analogies de cette formule avec la mise en forme de l'excès de pathos (thématique et formel) dans l’œuvre de trois cinéastes hollywoodiens, King Vidor, Josef von Sternberg et Orson Welles<br>

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21

Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.

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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptation

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22

CHANG, YA-CHU, and 張雅筑. "A Study of Mu Shiying' Novels and Classic Hollywood Cinema." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7vvj68.

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碩士<br>東吳大學<br>中國文學系<br>105<br>This research is about the novels written by Mu Shiying (1912-1940) and further reveal the relationship among those novels, creative backgrounds and classical Hollywood's. The thesis can be divided into several parts: the introduction, 3 discussed sections and the conclusion. In the chapter “1930 age classical Hollywood and the Shanghai literary arena”, mainly described the creative background of novels written by Mu Shiying. At that time, western effects from 1930 age classical Hollywood spread to Shanghai as well as the narrative way change. This chapter reveal

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23

Cain, Bailey Knickerbocker. "The new curators : bloggers, fans and classic cinema on Tumblr." Thesis, 2014. http://hdl.handle.net/2152/26536.

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This study examines the role of social media in maintaining interest in classic cinema in today’s media culture. Ethnographic analyses and case studies were performed within a robust classic cinema fan network on the social media blogging site Tumblr. The practices of these bloggers and their online platform are framed against the traditional structure of the curator and museum, indicating that they serve many of the cultural functions attributed to these institutions. This study further demonstrates that these Tumblr networks serve as a resource for young people to discover, share, and create

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24

Diduck, Ryan Alexander. "Ideology and rhetoric in the classical Hollywood movie trailer." Thesis, 2008. http://spectrum.library.concordia.ca/975988/1/MR45289.pdf.

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Auteurist criticism is among the most enduring methods of film scholarship, and many significant directors including Alfred Hitchcock and John Ford have been exalted, by audiences and academics alike, to the prestigious status of auteur. This thesis aims to investigate how the trailers for their films functioned, in an industry that continually navigates the territory between art and commerce. Rooted in preceding research on advertising in both film and print, this thesis investigates the development of the trailer form as a parallel text, or paratext, intended to shape audiences' conceptions

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25

Edwards, Kyle D. "Corporate fictions: film adaptation and authorship in the classical Hollywood era." Thesis, 2006. http://hdl.handle.net/2152/3764.

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26

Mabin, William. "The presence of classical Hollywood narration in video games: a study of Grand Theft Auti IV." Thesis, 2010. http://hdl.handle.net/10539/8314.

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ABSTRACT: While a film-viewer watches a movie from beginning to end without the ability to manipulate aspects of the environment on screen, video games are constantly being altered through the player’s interaction. Some games however, can be identified as having strong cinematic narratives that detract from varied outcomes and limit game design to a point of closure that cannot be altered. These games have a predetermined script that mimics the formulae used in filmmaking. Typically in game design there are rules that govern what a player is permitted to do within the final product. The prese

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27

Ly, Hieu-Thong. "Le plan-séquence chez Kenji Mizoguchi." Thèse, 2012. http://hdl.handle.net/1866/9151.

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Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique. Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut d

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28

Stemmet, Carl. "Trust no truth : an analysis of the visual translation styles in the conspiracy film." Diss., 2011. http://hdl.handle.net/2263/23938.

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This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term

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29

Harper, Rowena. "Frontier mythology in the American teen film." 2009. http://hdl.handle.net/2440/56952.

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This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narrative

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