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Dissertations / Theses on the topic 'Cold War in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Fisher, Kevin B. "Intimate elsewheres altered states of consciousness in post WWII American cinema /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1565346871&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government le

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3

Hwang, Junghyun. "Specters of the Cold War in America's century the Korean War and transnational politics of national imaginaries in the 1950s /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336473.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed December 16, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-219).

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4

Keehn, Robin S. "Dialectics of containment : mothers, moms, soldiers, veterans and the cold war mystique /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9913156.

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5

Poon, Ka Yan. "Co-producing a cold war cosmopolitan fantasy: collaboration and competition between Hong Kong and Japanese Cinema in the 1950s and 1960s." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/548.

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This dissertation is a study of how Hong Kong and Japanese cinema constructed an imaginary of cosmopolitanism in films for a global market through co-production during the Cold War. Co-production examined in the dissertation is not limited to co-produced films. In the mid-1950s to the late 1960s, Hong Kong and Japanese cinema had frequent contact, which included co-organizing a film festival, exchanging film talents, and adapting films. Neutral terms like collaboration and cooperation describing the interchange between Japanese and Hong Kong cinema often disguised their competition in an uneve

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6

Girotto, Breno. "A vitória dos vencidos : política e identidade no filme O Álamo, de John Wayne /." Assis, 2019. http://hdl.handle.net/11449/181854.

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Orientador: Carlos Alberto Sampaio Barbosa<br>Banca: José Luis Bendicho Beired<br>Banca: Mary Anne Junqueira<br>Resumo: Em 1960 era lançado o filme O Álamo, dirigido, produzido e protagonizado por John Wayne, um dos maiores atores de Hollywood. O Álamo tratava da história de 180 combatentes que tomaram o forte de mesmo nome para lutar contra as tropas mexicanas lideradas pelo presidente General Antonio Lopes de Santa Anna. O filme de Wayne retrata um evento controverso da história compartilhada entre México e Estados Unidos. A Batalha do Álamo, como ficou conhecido o conflito revivido pelo fil

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7

McDiarmid, Tracy. "Imagining the war /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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8

Ferguson, Laura Elizabeth. "Kicking the Vietnam syndrome? : collective memory of the Vietnam War in fictional American cinema following the 1991 Gulf War." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2672/.

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This thesis analyses the concept of the “Vietnam Syndrome” and its continuing manifestation in fictional American films produced after the 1991 Gulf War, with reference to depictions of the Vietnam, Gulf and Iraq Wars. Based on contemporary press reports as source material and critical analysis, it identifies the “Vietnam Syndrome” as a flexible and altering national psychological issue characterised initially as a simple aversion to military engagement, but which grew to include collective feelings of shame, guilt and a desire to rewrite history. The thesis argues that the “Syndrome” was not

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9

Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.

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10

Archibald, David. "The Spanish Civil War in cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1089/.

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In this thesis I present a case study of the Spanish civil war in cinema. I examine how this period has been represented in cinema through time, in different countries and in various cinematic forms. I reject the postmodern prognosis that the past is a chaotic mass, made sense of through the subjective narrativisation choices of historians working in the present. On the contrary, I argue that there are referential limits on what histories can be legitimately written about the past. I argue that there are different, often contradictory, representations of the Spanish civil war in cinema which i

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11

Akhter, Fahmida. "Fragmented memory, incomplete history : women and nation in war films of Bangladesh." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20049/.

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The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politic

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12

Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.

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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric

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13

Treveri, Gennari Daniela. "America, the Vatican and the Catholic Church sphere of activity in Italian post-war cinema (1945-1960)." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/79998/.

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The thesis examines the extent the means and the degree to which the American and the Vatican's common cultural ideology was expressed in the film industry of post-war Italy (1945-1960). Through a comparative approach of current theories developed on ideology and an analysis of official documents from the Vatican and the United States Department of State, the thesis investigates the decisive role that American production companies played in the development of the Italian film industry and their links to the Vatican. This analysis evaluates how the Italian production and distribution industries

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14

Jiang, Wei. "A discourse of devils :representations of the Japanese in Chinese war films after 1949." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690649.

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15

Randell, Karen Mary. "Hollywood and war : trauma in film after the First World War and the Vietnam War." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50596/.

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This thesis examines war trauma in film; it is a comparative reading that aims to study the relationship between films made after the First World War in the 1920s and films made during and after the Vietnam War. I use thirteen focus film texts, some which explicitly engage with war and some that do not. This thesis will argue that the production of these particular films was inflected by the collective trauma that the wars produced in American society. There was not, for example, an explicit combat film made for seven years after the First World War and thirteen years after the Vietnam War. Th

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16

Hall, Karen J. "War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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17

McDiarmid, Tracy. "Imagining the war / imagining the nation : British national identity and the postwar cinema, 1946-1957." University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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[Truncated abstract] Many historical accounts acknowledge the ‘reverberations’ of the Second World War that are still with the British today, whether in terms of Britain’s relationships with Europe, the Commonwealth, or America; its myths of consensus politics and national unity; or its conceptions of national character. The term ‘reverberations’, however, implies a disruptive, unsettling influence whereas today’s popular accounts and public debates regarding national identity, more often than not concerned with ‘Englishness’ as a category distinctive from ‘Britishness’, instead view the Secon

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18

Chang, Hsin-Ning. "Viewing the Long Take in Post-World War II Films: A Cognitive Approach." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.

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Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.

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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared

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20

Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.

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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "

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Pavulans, Anna-Minna. "Identities in motion : citizenship, mobility and the politics of belonging in the post-Cold War era /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3147832.

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Thesis (Ph. D.)--University of Oregon, 2004.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-243). Also available for download via the World Wide Web; free to University of Oregon users.

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22

Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.

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23

Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.

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24

Yip, Wing-see Audrey, and 葉泳詩. "Conserved in celluloid: an approach to the contextual understanding of urban Hong Kong through post-war movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092816.

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This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical r

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25

Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.

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Thesis (MA)-- Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held

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26

Rositzka, Eileen. "The cinematic corpography of war : re-mapping the war film through the body." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/13075.

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In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term r

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27

Jordan, James. "Bearing witness to the Holocaust in the courtroom of American fictive film." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50607/.

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From the first post-war trials to the recent libel trial in the London High Court brought by Holocaust denier David Irving against Penguin Books and American academic Deborah Lipstadt the real-life courtroom has provided more than a legal judgment in respect of the Holocaust. As legal scholar Lawrence Douglas has shown in The Memory of Judgment: Making Law and History in the Trials of the Holocaust (2001), this formal, institutionalised and controlled setting has also been the forum for an increasingly nuanced, often intentionally pedagogic, examination of the Holocaust. After nearly sixty yea

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Nakao, Tomyo. "The representation of Japan in British POW films of the 1950s." Thesis, University of Essex, 2015. http://repository.essex.ac.uk/16055/.

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This thesis analyses the formation of images and representations of Japan in British films of the 1950s. Japan's image changed drastically during and after World War II, as knowledge of Japan's maltreatment of prisoners of war (POWs) became known. The thesis considers four films and the novels or scripts from which they were made: The Wind Cannot Read (both David Lean's and Ralph Thomas's version), A Town Like Alice, The Bridge on the River Kwai, and The Camp on Blood Island. This study shows how film became a venue for expressing untold experiences and the battle over 'proper' representations

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Estrada, Alicia Ivonne. "Textual transversals : activisms and decolonization in Guatemalan Mayan and Ladina women's texts of the Civil War and postwar periods /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.

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30

Peters, Claire Isla MacLeod. "Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.

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This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to

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Powell-Jones, Lindsay. "Deleuze and Tarkovsky : the time image and post-war Soviet cinema history." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/93276/.

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Andrei Tarkovsky (1932-1986) is remembered as one of Russia's most influential and celebrated filmmakers. Over the course of his career he released seven feature films: Ivan’s Childhood (1962); Andrei Rublev (1966, USSR release 1971); Solaris (1972); Mirror (1975); Stalker (1979); Nostalghia (1983); and The Sacrifice (1986). Drawing on a history of post-war Soviet cinema, this thesis brings his films into contact with the concepts outlined in Gilles Deleuze’s two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Deleuze's Cinema books provide a system of classif

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Turković, Dajana. ""Death to all fascists! liberty to the people!" : history and popular culture in Yugoslavia 1945-1990." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99611.

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This essay analyzes the changing portrayal of Yugoslavia's World War II experience in music, film, and literature. It argues that the disappearance of unifying themes from the cultural sphere opened the doors to the popularization of controversial and divisive subjects. Shifting perceptions of how Yugoslavs fought and survived the Second World War contributed to the destruction of Yugoslavia.<br>The first chapter focuses on World War II in Yugoslavia. The second chapter discusses the early development of Yugoslav culture and its dependence on the Second World War. The third chapter follows the

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33

Saeger, J'Leen Manning. "The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2009.<br>Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.

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Mullins, Michael Bryan. "Hildegard On Rubble Mountain." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.

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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.

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Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.

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36

Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.

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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and

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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.

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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war yea

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Nunes, Gabriel Carneiro. "O cinema vai a guerra : imagens em movimento da Guerra Hispano-Americana (1898-1901) /." Assis, 2019. http://hdl.handle.net/11449/190979.

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Orientador: Carlos Alberto Sampaio Barbosa<br>Banca: José Luis Bendicho Beired<br>Banca: Carolina Amaral de Aguiar<br>Resumo: A Guerra Hispano-Americana (1898) aconteceu em decorrência da expansão imperialista dos Estados Unidos no momento em que sua industrialização crescia em ritmo acelerado. Eliminando os últimos resquícios da colonização espanhola no continente americano, Cuba e Filipinas foram os primeiros alvos de uma política agressiva dos nacionalistas estadunidenses para assegurar o slogan proposto pela Doutrina Monroe, "América para os Americanos". Nos principais centros urbanos dos

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Antonietti, Iris A. "Enforcing fragments : a critical analysis of the mythological messages in Frank Capra's Why we fight series." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397368.

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This thesis is a rhetorical analysis of Frank Capra's World War II information film series, Why We Fight, produced from 1942-1945. The series' mythological messages are examined using the four national parables as defined by Robert Reich (1987), namely The Mob at the Gates, The Triumphant Individual, The Benevolent Community, and The Rot at the Top. The values conveyed through the national parables are analyzed using a delineation of 17 core American values provided by Steele and Redding (1962). The analysis reveals the basic narrative structure of the series constituted by the myths, The Batt

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Escue, Jessica Margaret. "Margaret Dale, Adapting the Stage to the Screen: Aesthetic, Appropriation, and Intimacy in Ballet Programming for Post-War BBC Television." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33148/.

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This thesis examines the aesthetic of ballets adapted for BBC Television by producer Margaret Dale, beginning with her entrance to the BBC's training program in 1955 and culminating with her commissioned work Houseparty, which aired in 1964. A historical and organizational framework is discussed regarding the BBC's cultural mission and view of arts programming, as well as general developmental milestones in programming contextualizing Dale's working conditions. Particular focus is placed upon the appropriation of Romantic narrative ballets and their significance in reinforcing an aristocratic

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Behrens, Ragni. "Zur Bedeutung des Vergleichs in Eichendorffs Erzählwerk : "...ihm war, als spiegelte sich wunderbar sein Leben wie ein Traum noch einmal wieder"." Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-541.

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The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar

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Ellis, Erin Jean. "The “German” and “Nazi” In Chaplin’s The Great Dictator, Capra’s The Nazis Strike and Hitchcock’s Lifeboat." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241211595.

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Mills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.

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World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also

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Kennedy, Tara L. "La ley de memoria histórica en el cine y la novela españoles." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404541/.

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This thesis investigates the Spanish identity crisis through structural, political and representational intersectionality by means of the Law of Historic Memory, also known as LEY 52/2007 del 26 de diciembre. This work, written in Spanish, explores relational aspects of various contemporary themes within four post-Franco novels and four Spanish films: Réquiem por un campesino español by Ramón J. Sender and its corresponding film directed by Francesc Betriu; Soldados de Salamina by Javier Cercas and its corresponding film directed by David Trueba; La voz dormida by Dulce Chacón and its corresp

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Sánchez, Román María Elisenda. "Superhéroes en la pantalla de la guerra contra el terror. Un estudio semiótico-discursivo a las trilogías cinematográficas Iron Man y The Dark Knight." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/393909.

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Esta investigación se centra en el análisis discursivo de dos trilogías cinematográficas, The Dark Knight (Nolan, 2005, 2008, 2012) y Iron Man (Favreau 2008, 2010; Black, 2013), producidas entre el 2005 y el 2013, en el marco de la llamada War on Terror, que encabezara el entonces presidente de Estados Unidos, George W. Bush, después del ataque a las torres gemelas de Nueva York. Batman es el superhéroe que más ganancias ha redituado a la industria del entretenimiento en todos los tiempos, su trilogía The Dark Knight se construye a partir del cómic en miniserie Batman Year One, en 1988, de

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Paszkiewicz, Katarzyna. "Gender y genre en las cineastas estadounidenses a principios del siglo XXI." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283168.

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Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn

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Falk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.

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Garcia, Enrique. "Children of the socialist paradise: Redefining social and esthetic values in post Cold -War Cuban cinema." 2007. https://scholarworks.umass.edu/dissertations/AAI3289238.

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After the collapse of the Soviet Union, Cuban filmmakers had to rethink the socialist values and esthetics developed in Cuba after the revolution of 1959. A number of these precepts, encapsulated in Julio García Espinosa's 1965 manifesto "For an Imperfect Cinema," had been influential in both Cuban filmmaking and Latin America's socialist cinema in general. As a consequence of capitalist globalization, many of these cultural concepts had to be reinvented for a new, more skeptical era disinclined to romanticize their legacy. This dissertation opens a discussion of the heritage of Cuban cinema i

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Chung, Jae Won Edward. "Picturing Everyday Life: Politics and Aesthetics of Saenghwal in Postwar South Korea, 1953-1959." Thesis, 2017. https://doi.org/10.7916/D8Z89QVS.

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Following the collapse of the Japanese Empire (1945) and the devastation of the Korean War (1950-1953), the question of how to represent and imagine “everyday life” or “way of life” (saenghwal, 生活) became a focal point of post-colonial and Cold War contestations. For example, President Syngman Rhee’s administration attempted to control the discourse of “New Life” (shinsaenghwal) by linking the spatio-temporality of the everyday to reconstruction and modernization. “Everyday life” was also a concept of strategic interest to the United States, whose postwar hegemonic ambitions in East Asia meant

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DONALD, RALPH R. "HOLLYWOOD AND WORLD WAR II: ENLISTING FEATURE FILMS AS PROPAGANDA." 1987. https://scholarworks.umass.edu/dissertations/AAI8727038.

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This study examines American war films released during World War II to determine what kinds of persuasive appeals were used to propagate support among the American people for the war. As well, the symbiotic wartime relationship between the Federal Government and the Hollywood film industry was investigated. The examination of 37 war films, 10 per cent of the total number of war films released from 1941 to 1945, yielded 48 different aural or visual persuasive appeals. These appeals were characterized in the form of statements with which their communicators desired the audience to agree. Example

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