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Dissertations / Theses on the topic 'Cronenberg'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Fernandes, Caio Aguilar. "David Cronenberg : extremos da visibilidade." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284228.

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Orientador: Lucia Nagib<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-03T15:40:02Z (GMT). No. of bitstreams: 1 Fernandes_CaioAguilar_M.pdf: 5517469 bytes, checksum: 8e69ad0e2cb08f4054be2c7f1e195212 (MD5) Previous issue date: 2001<br>Resumo: O presente trabalho analisa cinco filmes escritos e dirigidos pelo cineasta canadense David Cronenberg: Calafrios (Shivers, Canadá, 1975); Enraivecida, na fúria do sexo (Rabid, Canadá, 1976); Os filhos do medo (The Brood, Canadá, 1979); Scanners, sua mente pode destruir (Scanners,

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McKinnon, Ann Marie. "The death drive, Cronenberg, Ondaatje, Gould." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60325.pdf.

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3

Leung, Wai-ping, and 梁慧萍. "Fashioning bodies, transforming identities: Kafka and Cronenberg." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4257710X.

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4

Leung, Wai-ping. "Fashioning bodies, transforming identities Kafka and Cronenberg /." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B4257710X.

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5

Demangeot, Fabien. "La transgression dans l'œuvre de David Cronenberg." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H302/document.

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Totalement érigée autour de la question de la transgression, l'œuvre cronenbergienne, en exposant des comportements considérés comme déviants ainsi que des modes de sexualités allant à l'encontre des modèles normatifs propres à la culture mainstream, semble difficilement catégorisable. À la fois à l'intérieur et à l'extérieur du système hollywoodien, le réalisateur de La Mouche joue avec les codes génériques les plus éculés pour en proposer une véritable alternative. De ses débuts dans le cinéma underground, avec des œuvres telles que Stereo et Crimes of the future, à ses films les plus ''gran

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6

Medeiros, Rosângela Fachel de. "Cinema e identidade cultural : David Cronenberg questionando limites." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/16861.

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O presente trabalho investiga a marca anglo-canadense na obra do cineasta David Cronenberg a partir do diálogo que instaura com as tradições culturais e teóricas do país que dizem respeito, ao tecnicismo, centrado nos meios de comunicação, propagado pelos teóricos da comunicação da Escola de Toronto e, especialmente, por Marshall Mcluhan e levando em consideração a tendência dos protagonistas canadenses a serem não-heróis, apontada por Margaret Atwood. E com o objetivo de contextualizar sua produção artística, mercadológica e culturalmente, no interior do sistema cinematográfico do Canadá, apr

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7

Young, Suzie Sau Fong. "The horrors of pleasure and the pleasures of horror in David Cronenbergs's cinema /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961763.

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8

Cederlöf, Henriette. "Gotiken hos David Cronenberg : En studie av fyra filmer." Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-907.

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<p>Syftet med min uppsats är att undersöka förhållandet mellan fyra av den kanadensiske regissören David Cronenbergs filmer och den gotiska traditionen. De filmer jag valt att behandla är Shivers (1974), Rabid (1976), The Brood (1979) och Dead Ringers (1988). Den gotiska traditionen utmärks bland annat av en fokusering på kroppsligt baserad skräck. Skräck med utgångspunkt i kroppen återfinns även i Cronenbergs filmer. Vid en närmare studie av dessa filmer har jag dock funnit att de även innehåller element av det som feministiskt inriktade forskare kallat familjegotik – gotiska representationer

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9

Lobo, Rafael Santos de Gusmão. "New flesh : a cosmovisão de horror de David Cronenberg." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21150.

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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2016.<br>Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-18T13:14:48Z No. of bitstreams: 1 2016_RafaelSantosdeGusmãoLobo.pdf: 65743304 bytes, checksum: a066bedd3d880f73c9a5a3cd63de25bc (MD5)<br>Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-08-03T18:48:46Z (GMT) No. of bitstreams: 1 2016_RafaelSantosdeGusmãoLobo.pdf: 65743304 bytes, checksum: a066bedd3d880f73c9a5a3cd63de25bc (MD5)<br>Made available in DSpace on 2016-08

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10

Ramsay, Christine Elizabeth. "Masculinity and processes of intersubjectivity in the films of David Cronenberg." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq27318.pdf.

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11

Fernandez, Ingrid. "Identity and the seduction of desire : the films of David Cronenberg." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/3302.

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This thesis proposes a more holistic approach to analyzing the films of David Cronenberg with specific emphasis on perduring themes such as the exploration of the body, the split male self and the narrative death drive. The study examines three films from visually distinct periods in his career: Shivers (1975) from the B-horror genre; The Fly (1986) from the Hollywood melodramatic mainstream genre; and Crash (1996) from the highly stylized and intellectually probing hyper-realistic genre. Although the surface of the films varies, all share the following: a concern with the central character's

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12

Shankar, Vikram A. "Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1493750469131887.

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13

Roche, David. "L'imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412407868.

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14

Molina, Pardo Vicente. "EL PERSONAJE INFECTADO: SU RELACIÓN CON LA MULTITUD Y LA METÁFORA EN LAS PELÍCULAS DE DAVID CRONENBERG." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90551.

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Aquesta tesi estudia les representacions que Cronenberg fa dels individus, dels grups d'infectats i de la seua forma d'exhibir-los. Les subjectivitats aplicades a les multituds mitjançant l'ús de metàfores i constructes varis, són eines que des de fa molt de temps són descrites, aplicades i estudiades en els mitjans argumentatius que coneixem (continguts informatius, documentals, socio-lògics, discursos filosòfics, etc.). L'objectiu principal d'aquesta tesi serà esbrinar si les problemàtiques que estudiem en aquests mitjans argumentatius, en relació a la psico-logia de les masses i les metàfo

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15

Góes, Maria das Graças Teixeira de Araújo. "Ficção científica , cibercultura e pós-modernidade: velocidade e religião no discurso cinematográfico de David Cronenberg videodrome e eXistenZ." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4994.

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Made available in DSpace on 2016-04-26T18:16:43Z (GMT). No. of bitstreams: 1 Maria das Gracas Teixeira de Araujo Goes.pdf: 604490 bytes, checksum: 94da5ee9691f0f368280cd9c144819d7 (MD5) Previous issue date: 2007-11-19<br>The research is devoted to the study of David Cronenberg s films Videodrome and eXistenZ. Both movies belong to the science fiction genre, which, in our times, has gained specific features, representing the present with futuristic connotations, due to the fact of technical innovations being inserted in every sector of society. By portraying the cultural context of their time

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Cronenberg, Andreas [Verfasser], Hans-Jürgen Akademischer Betreuer] Haubrich, Dirk Uwe [Akademischer Betreuer] [Sauer, and Alfons [Akademischer Betreuer] Sillaber. "Bewertung einer regelzonenübergreifenden Organisation der Leistungs-Frequenz-Regelung / Andreas Cronenberg ; Hans-Jürgen Haubrich, Dirk Uwe Sauer, Alfons Sillaber." Aachen : Universitätsbibliothek der RWTH Aachen, 2018. http://d-nb.info/1180505212/34.

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17

Fernandes, Andreza Lisboa da Silva. "A extensão de Mcluhan no cinema de David Cronenberg : influências e aplicações da medium theory no filme eXistenZ." Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000212833.

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David Cronenberg é um cineasta canadense conhecido por sua extensa filmografia dedicada à relação do homem com a tecnologia. O objetivo do trabalho é identificar e analisar a concepção de tecnociência apresentada na obra de Cronenberg, a partir das tecnologias digitais de interação evidenciadas no filme eXistenZ (1999). O método adotado é a análise fílmica, em uma relação conceitual entre a teoria dos media de Marshall McLuhan e o pensamento de autores que trabalham o tema da comunicação digital e suas implicações no meio social. O resultado indica relação crítica da teoria de McLuhan com as c

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18

Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.

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This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideol

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19

Eadie, Jo. "Embodied politics and extreme disgust : an investigation into the meanings of bodily order and bodily disorder, with particular reference to the work of William Burroughs and David Cronenberg." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/11982/.

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This thesis is an analysis of the ways in which images of bodily disgust function in social conflicts. It considers the necessary embodiment of political struggle: that is, the ways in which inequalities are sustained and contested through the material forms taken by human bodies and the meanings attached to bodily states. In chapter one I map out the theoretical grounding for an inquiry into embodiment, by showing how the physical forms taken by bodies are produced by social practices. I argue that ‘the body’ should be seen as a biological product, a ‘body project’, regulated and transformed

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20

Clerc, Adrien. "William S. Burroughs et le cinéma : expérimentations, présences, contaminations." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3067.

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Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitio

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21

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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22

Medeiros, Rosângela Fachel de. "Crash, romance e filme, expressão máxima da representação do desastre automobilístico em manifestações artísticas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2002. http://hdl.handle.net/10183/10913.

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Utilizando a teoria do polissistema literário de Itamar Even-Zohar, as concepções psicanalíticas de Sigmund Freud e de Erich Fromm, como também posições defendidas por teóricos tais como Roland Barthes, Christian Metz, Julia Kristeva e pelos líderes do movimento Futurista Italiano, entre outros, o presente trabalho analisa duas obras: Crash, romance de J. G. Ballard e Crash, filme de David Cronenberg. O objetivo não é de contrapôlas. Ao contrário, muitas vezes elas serão tratadas como se fossem partes de uma mesma obra, servindo assim uma para expandir a outra. Em relação ao filme, é destacada

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23

Petropoulos, Lefteris. "Esthétique et clinique du corps : à propos des modifications corporelles dans l'art contemporain." Paris 7, 2010. http://www.theses.fr/2010PA070081.

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Ce travail traite l'esthétique contemporaine dans ses liens avec la clinique du corps. Se situant dans un terrain psychanalytique (de Freud à Lacan), enrichi par la pensée deleuzienne et par la phénoménologie, nous interrogeons l'émergence spectaculaire du corps dans l'art contemporain. Entre autres, on aborde l'atteinte au corps chez les Actionnistes viennois, les performances et les opérations esthétiques d'Orlan, le corps cybernétique de Cronenberg. Nous considérons l'utilisation du corps de l'artiste ainsi que les diverses figures du corps dans l'art contemporain autant comme des symptômes

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24

Pühler, Simon. "Funny games." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/17063.

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"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmu

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25

Malchiodi, Emmanuel William. "Paul Verhoeven, media manipulation, and hyper-reality." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/467.

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Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless oc

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26

Sullivan, Gordon M. ""Fascinated victims" aspects of abjection in the films of David Cronenberg /." 2007. http://www.lib.ncsu.edu/theses/available/etd-04192007-113016/unrestricted/etd.pdf.

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27

Wilson, Scott Alexander. "The Politics of insects: discipline and resistance in the cinema of David Cronenberg." 2008. http://hdl.handle.net/2292/2500.

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This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience,

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28

Hellégouarch, Solenn. "Une méthode dangereuse : comprendre le processus créateur en musique de film, le cas de Norman McLaren et Maurice Blackburn, David Cronenberg et Howard Shore." Thèse, 2015. http://hdl.handle.net/1866/12312.

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Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM.<br>Si Norman McLaren (1914-1987) œuvre principalement dans le domaine onirique de l’animation, David Cronenberg (1943-), parfois surnommé « The Baron of Blood », réalise des films de fiction appartenant à un genre singulier qu’il a lui-même développé, celui de « l’horreur intérieure ». Que peuvent donc partager ces deux cinéastes

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29

Hladonik, Jan. "Nové tělo? Hranice těla ve filmech Davida Cronenberga." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299214.

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Diploma work New Flesh? The Limits of the Body in the Films by David Cronenberg deals with the human body as one of the main motives in the filmography of the Canadian director David Cronenberg. Its mission is to implicate new approaches to the human body in the theories of postmodern philosophy, philosophy of media and posthuman therories, which fundamentally transform the principles of previously applied concept of body and mind dualism and point out that media and new technologies has a significant influence on our perception of a human body. New approaches to the human flesh and fleshlines

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30

Liao, Ai-ling, and 廖愛苓. "Technophobia in David Cronenberg's Films." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/9h7mp8.

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碩士<br>國立清華大學<br>外國語文學系<br>92<br>Technology influences our lives tremendously. As history progresses, it seems that human beings depend more and more on it. Originally, the concept of technology referred to instruments that merely assist human beings; however, in the modern age, it is difficult to tell whether technology or humans are in control of society or human life. In this thesis, the ideas of modern thinkers like Martin Heidegger, Max Horkheimer, Theodor W. Adorno, as well as those of contemporary critics like Jacques Ellul and Günther Anders’s will be examined to understand what exac

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31

Papenburg, Bettina [Verfasser]. "Transformationen des grotesken Körpers im Kino David Cronenbergs / von: Bettina Papenburg." 2007. http://d-nb.info/986960764/34.

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32

Lee, Chung-kang, and 李忠剛. "Desiring the Technological Body:Toward a Deleuzian-Guattarian Reading of David Cronenberg's Videodrome and eXistenZ." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/62226579920162430382.

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碩士<br>國立清華大學<br>外國語文學系<br>92<br>David Cronenberg is a Canadian film director whose films are categorized as “body horror,” highlighting the mutated human bodies transformed by technology. Critics mainly interpret the destruction of the technological body in Cronenberg’s films as technophobia. On the other hand, criticisms of Cronenberg are often divided into two camps: one is to highlight his Canadian identity, and the other is to contextualize Cronenberg in the horror genre, employing psychoanalytical and feminist theories to discuss his films. Drawing on theories based on the binary presu

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33

Vaught, Brian Geoffrey. "Into the viscera : a multi-media, autoethnographic journey into Cronenberg's construction of a postmodern flesh." 2002. http://purl.galileo.usg.edu/uga%5Fetd/vaught%5Fbrian%5Fg%5F200205%5Fma.

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