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Dissertations / Theses on the topic 'DIY Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Davis, James Trent. "Blood in the Grass." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1430.

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This paper thoroughly examines the thesis film, Blood in the Grass. Each area of the film's production is carefully analyzed, including writing, directing, production design, cinematography, editing, sound, and technology and workflow. In addition to these areas, the background and ideology of the filmmaker provides a context for the choices made in production. This overall analysis discusses the effectiveness of the goals set by the filmmaker for the film to be an emotionally effective commentary on capital punishment, and to be conducive to the short film medium.

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2

Jungen, Christian. "Hollywood in Cannes die Geschichte einer Hassliebe ; 1939 - 2008." Marburg Schüren, 2009. http://d-nb.info/988534932/04.

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3

Jones, Andrea Cecil. "Design equation for the lip opening of a film extrusion die." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1198897481.

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4

McClure, Kate Alexandra. "Tear Film Dynamics Associated with Contact Lens Wear." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523579680091666.

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5

Blüher, Dominique. "Le Cinéma dans le cinéma : Film(s) dans le film et mise en abyme." Paris 3, 1996. http://www.theses.fr/1997PA030021.

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Cette etude propose les premiers jalons d'une approche semio-narratologique d'ensemble et systematique de ce que l'on a pris l'habitude de considerer comme film(s) dans le film. Apres avoir donne un apercu de l'etat des recherches concernant la reflexivite au cinema, elle procede a une classification visant a cerner l'ensemble des films ayant trait au cinema. Puis elle se limite deliberement a l'etude du film dans le film proprement dit, c'est-a-dire a cette configuration particuliere de l'insertion d'extraits de film dans un film. Elle analyse cette figure en ayant recours 1 aux notions descriptives empruntees a la narratologie litteraire, 2 aux recherches concernant l'enonciation filmique et 3 au concept de scenario issu de la pragmatique cognitiviste. Puis, elle propose un modele d'analyse du fonctionnement multiplan du film dans le film, developpe en s'inspirant librement d'etudes linguistiques de la paraphrase. Ce modele d'analyse est ensuite illustre et soumis a l'analyse de trois films (respectivement de fassbinder, leenhardt et fellini). Enfin, elle opere un retour sur une forme plus specifique du film dans le film, la mise en abyme, degageant certaines caracteristiques de cette figure vertigineuse et paradoxale.

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6

Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from the private and into the public sphere. This thesis looks at what happens when women from three separate horror films of the 1970s begin to trouble the normative ideas of what a good mother is by exaggerating the very conventions themselves. The films of analysis are Halloween (John Carpenter, 1978), The Brood, and Carrie (Brian De Palma, 1976). Rather than directly defying normative expectations of the good mother, the women of these films adhere to these codes in such exaggerated fashions that they become monstrous. Once the spectator deems these women as monstrous, their behavior is noted as performative and open to a possible reimaging of what constitutes a good mother. It is in this possible reimagination of the good mother, due to negative illumination rather than positive prescription, where the revolutionary power of the carnivalesque perspective truly lies. As the main theoretical framework for this thesis, Mikhail Bakhtin's carnivalesque perspective grants spectators the chance to participate in the reimaginations of the normative construction of the good mother. It is here where the monstrosity of these mothers can be seen as not solely as monstrous but also as critical of the normative. As the monstrous interrogates the normative, the spectators begin to question the patriarchal ideals and expectations of the good mother, which allows for reimagining of what constitutes the good mother.

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7

Napolitano, Valeria. "La Figure humaine dans le cinéma italien des années dix." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0114.

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Cette thèse se compose de quatre parties - une vaste introduction consacrée à un essai futuriste, deux sections "centrales" qui traitent des modèles figuratifs et du geste dans certains films considérés comme les plus significatifs de l'époque (Maciste Alpino, Il fuoco, Assunta Spina, Cabiria), et une conclusion centrée sur un domaine autre que la fiction, le documentaire - que j'ai écrites au cours de quelques années. Les films choisis témoignent du pouvoir du cinéma dont je parle de traduire la relation entre l'homme du début du vingtième siècle et le monde dont il est contemporain. J'ai parlé d'analyse parallèle avec la première génération futuriste italienne. L'intention de cette hypothèse n'est pas que chacun voie un rapport d'ordre proprement esthétique entre la démarche figurative des deux domaines, mais plutôt qu'on se demande si et comment le cinéma italien du milieu des années dix nous parle de la persistance, chez l'homme, d'une double inhumanité
This work is divided into four sections, which have been written during three years : it contrains a long introduction dedicated to a futrist essay (the Manifesto della cinematografia futurista), two central parts where I consider the different models of representation and the gesture (most significant movies : Maciste alpino, Cabiria, Assunta Spina, Il fuoco) and a final part dedicated to the documentary. Each chapter of the central part provides a paralleled study of some of the best examples of "silent movies" produced over the first two decades of the last century, and tries to place them in the cultural context of Italian Futurism; it is inspired to the book of J. F. Lyotard, L'Inhumain, exploring the condition of modernist and contemporary artist. Most important questions : how does this cinema translate the relation between the earliest twentieth-century man and his world? From the earliest comiche to the latest melos, how the directors of this period go on to describe the double identity of human being?

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8

Wahl, Christoph. "Das Sprechen der Filme über verbale Sprache im Spielfilm ; Versionsfilme und andere Sprachübertragungsmethoden ; Tonfilm und Standardisierung ; die Diskussion um den Sprechfilm ; der polyglotte Film ; nationaler Film und internationales Kino /." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=970359101.

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9

Kimball, Samuel H. "Evaporation is the Primary Mechanism of Tear Film Thinning." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243957487.

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10

Brunner, Philipp. "Konventionen eines Sternmoments die Liebeserklärung im Spielfilm." Marburg Schüren, 2007. http://d-nb.info/988534975/04.

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11

Tull, Zachary. "Just a Day." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. http://www.kaltura.com/tiny/3enza.

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12

Nagl, Tobias. "Die unheimliche Maschine : Rasse und Repräsentation im Weimarer Kino /." München : edition text + kritik, 2009. http://d-nb.info/986612480/04.

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13

Eder, Jens. "Die Figur im Film Grundlagen der Figurenanalyse." Marburg Schüren, 2002. http://d-nb.info/984037098/04.

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14

Wahl, Chris. "Das Sprechen des Spielfilms : über die Auswirkungen von hörbaren Dialogen auf Produktion und Rezeption, Ästhetik und Internationalität der siebten Kunst." Trier WVT, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2706319&prov=M&dokv̲ar=1&doke̲xt=htm.

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15

Breed, Catharina Adriana. "Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / C.A. Breed." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1671.

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16

Weng, Luqian. "Sol-gel processing of tellurite thin films." Thesis, University of Lincoln, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312891.

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17

Benini, Leonardo. "Caratterizzazione di film sottili di PEDOT:PSS." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7825/.

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Negli ultimi 20 anni lo studio dei materiali organici dalle proprietà conduttive si è ampliato significativamente in un range di applicazioni molto vasto, che va dall'assemblaggio e costruzione di sistemi microelettronici avanzati ad applicazioni nel campo della bioelettronica e dell'ingegneria biomedica. Il presente lavoro rappresenta un punto d'incontro tra la fisica dei materiali e la ricerca in ambito biomedico e verte sullo studio delle particolari proprietà del poli(3,4-etilenediossitiofene) drogato con poli(stirene sulfonato), o PEDOT:PSS, utilizzato nella preparazione di substrati per colture cellulari. Nel primo capitolo, di natura descrittiva, viene presentata una panoramica sui polimeri conduttivi e sulle loro caratteristiche principali con particolare approfondimento sul PEDOT:PSS e sulle sue applicazioni in ambito di ricerca. Il secondo capitolo contiene una descrizione approfondita della strumentazione e delle procedure utilizzati per la caratterizzazione dei campioni: sommariamente, questi comprendono misure di resistenza superficiale, di angolo di contatto e analisi morfologiche tramite AFM. Nel terzo e ultimo capitolo vengono esposte le tecniche di preparazione dei campioni e vengono mostrati e discussi i risultati delle misure eseguite sui campioni preparati.

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18

Böcking, Saskia. "Grenzen der Fiktion? : von Suspension of Disbelief zu einer Toleranztheorie für die Filmrezeption /." [S.l.] : [s.n.], 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783938258910.

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19

Arvidsson, Elin. ""Säg till din mamma att köpa en bättre baddräkt åt dig" : En jämförelse mellan boken och filmen Svinalängorna, med utgångspunkt i temat utanförskap." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61210.

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This study compares the novel Svinalängorna by Susanna Alakoski and the film version, based on the theme of exclusion. The study aims to see the potential the film can have in comparison with the book when it comes to representing the theme of exclusion in the teaching of literature as part of the upper secondary subject of Swedish. This has been investigated using coding and analysis of narrative technique. Key scenes have then been set in relation to multimodality. The result shows that exclusion generally seems to be depicted in the same way in the book and the film. At the same time, the products differ in their focus on different aspects of exclusion. The aspect of poverty, for example, is more prominent in the book, while social problems are more prominent in the film. The fact that the film is multimodal was found to reinforce the exclusion, and the result shows that the film is probably best suited for use in teaching from the point of view of film as comparison.

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20

Mädler, Peggy. "Sie lebt für ihre Arbeit. Die schöne Arbeit. Gehen sie an die Arbeit." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2011. http://dx.doi.org/10.18452/16289.

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Das titelgebende Zitat von Volker Braun kann als poetische Quintessenz eines vielschichtigen Verständnisses von Arbeit in der DDR gelten. In ihm enthalten sind ein identifikatorisches Verhältnis zur Arbeit, die utopische Bestimmung von Arbeit als nicht entfremdete, schöpferische und ästhetische Tätigkeit sowie eine vom Staatsapparat erzwungene Disziplinierung durch Arbeit. In der vorliegenden Dissertation werden die Inszenierungen von Arbeit und Geschlecht in künstlerischen Diskursen der Dramatik und des Spielfilms der DDR im Zeitraum 1961 bis 1990 analysiert. Die Theatertexte und Filme werden hinsichtlich ihrer Konstruktion von Arbeit, den darin enthaltenen geschlechtsspezifischen Konnotationen sowie den damit verbundenen künstlerischen Inszenierungsstrategien untersucht. Die metaphysischen Bestimmungen von und Zuweisungen an Arbeit werden unter einer poststrukturalistischen Perspektive als historische Konstrukte gefasst, die bestimmter kultureller Moral- und Wertvorstellungen bedürfen, um sich zu entfalten, und gleichzeitig diese Vorstellungen beständig erzeugen und bestärken. In einem Ausblick auf die künstlerischen Arbeiten von ostdeutschen DramatikerInnen und FilmemacherInnen nach 1990 werden die Brüche und Kontinuitäten in der Inszenierung von Arbeit und Geschlecht nach dem Ende der DDR aufgezeigt. Die Dissertation ist das Ergebnis einer Zusammenarbeit. Peggy Mädler übernahm die Analyse der Theatertexte und Bianca Schemel führte die Untersuchung der Spielfilme durch.
The citation of Volker Braun that gives this publication its title can be read as the poetic quintessence of a multilayer understanding of work in the GDR. It transports an identificatory relationship to work, the utopian designation of work as not alienated, creative and aesthetic activity as well as the disciplinary role of work that is enforced within the state apparatus. In the dissertation at hand, the performances of work and gender in the artistic discourses of drama and film of the GDR between 1961 and 1990 are analysed. The theatre texts and films are examined with regard to their construction of work, the gender specific connotations contained therein and the associated artistic staging strategies. The metaphysical designations of and assignations to work are conceived of, from a poststructural perspective, as historic constructs that require specific moral concepts and cultural ideals to unfold themselves, and at the same time incessantly produce and reinforce these notions. In an outlook on the artistic works of eastern German dramatists and filmmakers after 1990, the ruptures and continuities in the performance of work and gender after the end of the GDR are brought into focus. The dissertation is the outcome of a collaboration. Peggy Mädler undertook the analysis of the theatre texts and Bianca Schemel conducted the examination of the feature films.

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21

Schemel, Bianca. "Sie lebt für ihre Arbeit. Die schöne Arbeit. Gehen sie an die Arbeit." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2011. http://dx.doi.org/10.18452/16290.

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Das titelgebende Zitat von Volker Braun kann als poetische Quintessenz eines vielschichtigen Verständnisses von Arbeit in der DDR gelten. In ihm enthalten sind ein identifikatorisches Verhältnis zur Arbeit, die utopische Bestimmung von Arbeit als nicht entfremdete, schöpferische und ästhetische Tätigkeit sowie eine vom Staatsapparat erzwungene Disziplinierung durch Arbeit. In der vorliegenden Dissertation werden die Inszenierungen von Arbeit und Geschlecht in künstlerischen Diskursen der Dramatik und des Spielfilms der DDR im Zeitraum 1961 bis 1990 analysiert. Die Theatertexte und Filme werden hinsichtlich ihrer Konstruktion von Arbeit, den darin enthaltenen geschlechtsspezifischen Konnotationen sowie den damit verbundenen künstlerischen Inszenierungsstrategien untersucht. Die metaphysischen Bestimmungen von und Zuweisungen an Arbeit werden unter einer poststrukturalistischen Perspektive als historische Konstrukte gefasst, die bestimmter kultureller Moral- und Wertvorstellungen bedürfen, um sich zu entfalten, und gleichzeitig diese Vorstellungen beständig erzeugen und bestärken. In einem Ausblick auf die künstlerischen Arbeiten von ostdeutschen DramatikerInnen und FilmemacherInnen nach 1990 werden die Brüche und Kontinuitäten in der Inszenierung von Arbeit und Geschlecht nach dem Ende der DDR aufgezeigt. Die Dissertation ist das Ergebnis einer Zusammenarbeit. Peggy Mädler übernahm die Analyse der Theatertexte und Bianca Schemel führte die Untersuchung der Spielfilme durch.
The citation of Volker Braun that gives this publication its title can be read as the poetic quintessence of a multilayer understanding of work in the GDR. It transports an identificatory relationship to work, the utopian designation of work as not alienated, creative and aesthetic activity as well as the disciplinary role of work that is enforced within the state apparatus. In the dissertation at hand, the performances of work and gender in the artistic discourses of drama and film of the GDR between 1961 and 1990 are analysed. The theatre texts and films are examined with regard to their construction of work, the gender specific connotations contained therein and the associated artistic staging strategies. The metaphysical designations of and assignations to work are conceived of, from a poststructural perspective, as historic constructs that require specific moral concepts and cultural ideals to unfold themselves, and at the same time incessantly produce and reinforce these notions. In an outlook on the artistic works of eastern German dramatists and filmmakers after 1990, the ruptures and continuities in the performance of work and gender after the end of the GDR are brought into focus. The dissertation is the outcome of a collaboration. Peggy Mädler undertook the analysis of the theatre texts and Bianca Schemel conducted the examination of the feature films.

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22

Ney, Julia. "Die keine Rolle spielen Menschen mit Behinderung im Film ; [eine Untersuchung über die Funktion behinderter Darsteller und die "dargestellter" Behinderter in den Unterhaltungsmedien]." Kühbach-Unterbernbach EWK-Verl, 2006. http://d-nb.info/986982458/04.

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23

Schweinitz, Jörg. "Film und Stereotyp eine Herausforderung für das Kino und die Filmtheorie." Berlin Akad.-Verl, 2002. http://deposit.ddb.de/cgi-bin/dokserv?id=2786208&prov=M&dok_var=1&dok_ext=htm.

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24

Nichols, Jason J. "Evaporative tear film and contact lens factors associated with dry eye symptoms in contact lens wearers." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1085771728.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiii, 122 p.; also includes graphics Includes bibliographical references (p. 80-94). Available online via OhioLINK's ETD Center

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25

Maurer, Queipo Isabel. "Die Ästhetik des Zwitters im filmischen Werk von Pedro Almodóvar /." Frankfurt am Main : Vervuert, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013179985&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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26

Norris, Taylor N. "Evaluation of Oculus Keratograph 5M Tear Film Scans on Eyes Wearing Contact Lenses." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1616608423052127.

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27

Ferreira, Margarida Maria Fernandes Alegria. "Do real ao imaginário no argumento "Mafómedes, diz-se"." Master's thesis, Instituições portuguesas -- UCP-Universidade Católica Portuguesa -- -Escola das Artes (C.R. do Porto), 2002. http://dited.bn.pt:80/30470.

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28

Yun, Jong Uk. "Die Spielfilme von Ken Loach Perspektive eines realistischen Kinos." Darmstadt Büchner-Verl, 2010. http://d-nb.info/998913006/04.

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29

Matraszek, Katarzyna [Verfasser], and Hans-Jochen [Akademischer Betreuer] Schiewer. "Modernisierungsschübe der Nibelungensage. Die Rezeption im Film "Die Nibelungen. Der Fluch des Drachen."." Freiburg : Universität, 2010. http://d-nb.info/1148929444/34.

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30

Mariani, Giulia. "Traduttore traditore? La traduzione dei titoli dei film." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13710/.

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Questo elaborato finale tratta la traduzione di alcuni film in lingua francese, del regista François Truffaut e altre pellicole più recenti. L'elaborato presenta un'introduzione dal punto di vista dell'editoria, per spostarsi poi al mondo del cinema, una lista delle principali strategie e una conclusione.

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31

Echterbruch, Maren. "Ein Filmereignis im Medienverbund die Vermarktung von StarWars Episode I - Die dunkle Bedrohung und die Relevanz der Merchandising-Produkte für Öffentliche Bibliotheken /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675554.

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32

Reusch, Heiko. "Zur Vorstellung des Terroristen die Darstellung der RAF-Terroristen im Film /." Marburg : Tectum, 2008. http://catalog.hathitrust.org/api/volumes/oclc/254278157.html.

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33

Mühlbeyer, Harald. ""Perception is a strange thing" die Filme von Terry Gilliam." Marburg Schüren, 2005. http://d-nb.info/998737399/04.

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34

Heger, Christian. "Die rechte und die linke Hand der Parodie : Bud Spencer, Terence Hill und ihre Filme /." Marburg : Schüren Verlag, 2009. http://www.schueren-verlag.de/?aid=2383.

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35

Heger, Christian. "Die rechte und die linke Hand der Parodie Bud Spencer, Terence Hill und ihre Filme." Marburg Schüren, 2005. http://d-nb.info/991498909/04.

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36

De, Voghelaer Nathalie. "Cinéma, mémoire et imaginaire collectif : ou Comment les réalisateurs allemands représentent le génocide dans les films de fiction entre 1945 et 1960." Lille 3, 1999. http://www.theses.fr/1999LIL3A008.

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37

Kruger, Stefanie. "Die letzten Tage Adolf Hitlers --- Eine Darstellung für das 21. Jahrhundert in Oliver HIRSCHBIEGELs Der Untergang." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2824.

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The film Der Untergang (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph Der Untergang (2002) and Traudl JUNGE's and Melissa MÜLLER's Bis zur letzten Stunde (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'Führerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers.

After surveying a variety of films that portray Adolf Hitler, the thesis analyses Der Untergang by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past.

The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler.

Finally, this thesis maintains that Der Untergang gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

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38

Schmöller, Verena. "Kino in Chile - Chile im Kino : die chilenische Filmlandschaft nach 1990 /." Aachen : Shaker Media, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018681594&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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39

Kruger, Stefanie. "Die letzten Tage Adolf Hitlers --- Eine Darstellung f??r das 21. Jahrhundert in Oliver HIRSCHBIEGELs Der Untergang." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2824.

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The film Der Untergang (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph Der Untergang (2002) and Traudl JUNGE's and Melissa M??LLER's Bis zur letzten Stunde (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'F??hrerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers.

After surveying a variety of films that portray Adolf Hitler, the thesis analyses Der Untergang by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past.

The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler.

Finally, this thesis maintains that Der Untergang gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

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Phillips, Shareef J. "The Day The Clouds Stood Still." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/922.

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This is a letter to all the fatherless children in the world. This story captures the essence of time as it pertains to human nature. Oftentimes we’re busy letting time pass us by without taking in the beauty of life’s moments. The Day the Clouds Stood Still follows Claire James , a struggling New York journalist, who lands an opportunity of a lifetime to do a story on the world famous author, Eugene Daniels. Familiar with Eugene’s work, Claire’s beyond excited to accept the opportunity because it could lead to a promotion at her job but it all becomes too familiar when she finds out he lives in her deceased mother’s racist childhood town; Stony Creek, VA. After her roommate moves out without notice, and receiving several eviction letters on her apartment door she decides to take the journey to Stony Creek, Virginia to do the story. Upon arrival to the small town she’s not well received by the townsfolk or Eugene’s staff. She quickly realizes something is off about Eugene but doesn’t shed much light onto the situation because he treats her like the father she never had. The finest dinners, clothes, and soirees; Life couldn’t get any better than this. The closer Eugene and Claire became, the more and more the tension grew amongst Eugene’s staff, especially Hilary Freeman, Eugene’s assistant. Things start to uncover themselves, Claire finds out Eugene knew his mother from Highschool and that he’s gravely ill to the point where he’s losing his memory of who she is. It turns out Eugene's sickness only draws him and Claire closer; This is the last straw for Hilary. Out of impulse she sells the story of Eugene and Claire being actual father and daughter to the media. Eugene admits it’s true and it sends Claire over the edge. She returns home to New York with the finished manuscript of Eugene’s story. Every top publishing company in New York wants the story from her but she doesn’t budge, not even from her own job. Once Eugene becomes hospitalized, Claire has a change of heart and returns back to Stony Creek. She promises him on his deathbed that she will release the story independently and it will be the start of her own publishing company in Stony Creek, VA.; E & C Publishing.

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41

Gong, Shengjie. "An Experimental Study on Micro-Hydrodynamics of Evaporating/Boiling Liquid Film." Doctoral thesis, KTH, Kärnkraftsäkerhet, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-50216.

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Study of liquid film dynamics is of significant importance to the understanding and control of various industrial processes that involve spray cooling (condensation), heating (boiling), coating, cleaning and lubrication. For instance, the critical heat flux (CHF) of boiling heat transfer is one of the key parameters ensuring the efficiency and safety of nuclear power plants under both operational and accident conditions, which occurs as the liquid layers (microlayer and macrolayer) near the heater wall lose their integrity. However, an experimental quantification of thin liquid film dynamics is not straightforward, since the measurement at micro-scale is a challenge, and further complicated by the chaotic nature of boiling process. The object of present study is to develop experimental methods for the diagnosis of liquid film dynamics, and to obtain data for the film instability under various conditions. A dedicated test facility was designed and constructed where micro conductive probes and confocal optical sensors were used to measure the thickness and dynamic characteristics of a thin liquid film on various heater surfaces, while a high speed camera was used to get visual observation. Extensive tests were performed to calibrate and verify the two thickness measuring systems. The micro conductive measuring system was proven to have a high reliability and repeatability with maximum system error less than 5µm, while the optical measuring system is capable of recording the film dynamics with spatial resolution of less than 1 mm. The simultaneous measurement on the same liquid film shows that the two techniques are in a good agreement with respect to accuracy, but the optical sensors have a much higher acquisition rate up to 30 kHz, which are more suitable for rapid process. The confocal optical sensors were therefore employed to measure the dynamic thickness of liquid films (ethanol, hexane and water) evaporating on various horizontal heater surfaces (aluminum, copper, silicon, stainless steel and titanium) to investigate the influences of heat flux, the surface and liquid properties on the film instability and the critical thickness. The critical thickness of water film evaporating on various surfaces was measured in the range of 60-150 mm, increasing with the increased contact angle or increased heat flux (evaporating rate) and also with the decreased thermal conductivity of the heater material. The data suggest the conjugate heat transfer nature of the evaporating liquid film dynamics at higher heat fluxes of interest to boiling and burnout. In the case of hexane on the aged titanium surface with contact angle of ~3o, the liquid film is found resilient to rupture, with film oscillations at relatively large amplitude ensuing as the averaged film thickness decreases below 15 µm. To interpret our experimental findings on liquid film evolution and its critical thickness at rupture, a theoretical analysis is also performed to analyze the dynamics of liquid films evaporating on heater surfaces. While the influences of liquid properties, heat flux, and thermal conductivity of heater surface are captured by the simulation of the lubrication theory, influence of the wettability is considered via a minimum free energy criterion. The thinning processes of the liquid films are generally captured by the simulation of the lubrication theory. For the case with ideally uniform heat flux over the heater surface, the instability of the liquid film occurs at the thickness level of tens micro meters, while for the case of non-uniform heating, the critical thicknesses for the film rupture are closer to the experimental data but still underestimated by the lubrication theory simulation. By introducing the minimum free energy criterion to considering the influence of surface wettability, the obtained critical thicknesses have a good agreement with the experimental ones for both titanium and copper surfaces, with a maximum deviation less than ±10%. The simulations also explain why the critical thickness on a copper surface is thinner than that on a titanium surface. It is because the good thermal conductivity of copper surface leads to uniform temperature distribution on the heat surface, which is responsible for the resilience of the liquid film to rupture. A silicon wafer with an artificial cavity fabricated by Micro Electronic Mechanical System (MEMS) technology was used as a heater to investigate the dynamics of a single bubble in both a thick and thin liquid layer under low heat flux (<60 kW/m2). The maximum departure diameter of an isolated bubble in a thick liquid film was measured to be 3.2 mm which is well predicted by the Fritz equation. However, in a thin liquid layer with its thickness less than the bubble departure diameter, the bubble was stuck on the heater surface with a dry spot beneath. A threshold thickness of the liquid film which enables the dry spot rewettable was obtained, and its value linearly increases with increasing heat flux. In addition, another test section was designed to achieve a constant liquid film flow on a titanium nano-heater surface which helps to successfully carry boiling in the liquid film from low heat flux until CHF. Again, the confocal optical sensor was employed to measure the dynamics of the liquid film on the heater surface under varied heat flux conditions. A statistical analysis of the measured thickness signals that emerge in a certain period indicates three distinct liquid film thickness ranges: 0~50 µm as microlayer, 50~500 µm as macrolayer, 500~2500 µm as bulk layer. With increasing heat flux, the bulk layer disappears, and then the macrolayer gradually decreases to ~105 µm, beyond which instability of the liquid film may lose its integrity and CHF occurs. In addition, the high-speed camera was applied to directly visualize and record the bubbles dynamics and liquid film evolution. Dry spots were observed under some bubbles occasionally from 313 kW/m2 until CHF with the maximum occupation fraction within 5%. A dry spot was rewetted either by liquid receding after the rupture of a bubble or by the liquid spreading from bubbles’ growth in the vicinity. This implies that the bubbles’ behavior (growth and rupture) and their interactions in particular are of paramount importance to the integrity of liquid film under nucleate boiling regime.
QC 20111205
VR-2005-5729, MSWI

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42

Boman, Victor, and Lars Osmark. "Kontrollerad frihet i datorspel : Hur spelutvecklare styr dig genom din spelupplevelse." Thesis, Högskolan Väst, Institutionen för ekonomi och it, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-3444.

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När en spelstudio ska designa ett dataspel är det viktigt att veta hur konsumenten, det vill säga spelaren, kommer att spela spelet. Därför är det avgörande att genomföra speltester och samla in digital information för att få en så klar bild som möjligt över hur en spelare interagerar när denne spelar. En viktig sak för utvecklaren är att försöka få spelaren att investera sig själv i spelet, både emotionellt samt med sin tid. Syftet med vår undersökning är att försöka ta reda på vilket sätt spelutvecklare kan förutse och kontrollera hur en spelare skall spela ett datorspel. Vi har valt att göra denna undersökning på en specifik spelstudio samt på ett specifikt spel. Studion vi valt är Ubisoft Massive och vi tänker undersöka hur de gick tillväga då de utvecklade sitt spel World in Conflict. Vi genomförde en kvalitativ undersökning med hermeneutik som vetenskaplig utgångspunkt och vi samlade in vår empiri med hjälp av mejlintervjuer. De teorier vi använde oss utav var: logocentrisk narrativstruktur, verfremdungseffekt, rationalitet som teori, deterministisk A.I., MDI (människa-datorinteraktion), spelstudier med inriktning ludologi samt datamining. Undersökningen visar att Ubisoft Massive använder sig av ett flertal olika hjälpmedel för att förutbestämma hur spelaren skall spela spelet, bland annat med hjälp av datamining och speltestning. För att få spelaren mer investerad i spelet har de lagt mycket tid på många små detaljer som ljud, ljus och miljö. De använder sig av en deterministisk A.I. för att få A.I.:n att verka mer mänsklig och de använder sig olika communities för att stämma av med spelarna hur de önskar att spelet skall vara.
When a game designer starts the development of a videogame it is important to know how the consumer, that is the player, will play the game. It is crucial to perform game tests and gather other forms of information to understand how the player will interact with the game. It is also important to create a game which the player can connect to and want to immerse themselves in, emotionally as well as practically. The purpose of this study is to try to find out how game developers can predict and control how the player will play the game. We’ve decided to perform this study on one specific game developer and one of their released titles. The developer we’ve chosen is Ubisoft Massive and we’re going to examine how they went about developing the game World in Conflict. We performed a qualitative study with hermeneutics as our scientific standpoint, and we performed our empirical studies through mail-interviews. The theorems applied in the study is as follows: Logocentric narrative structure, distancing effect, rational choice theory, deterministic A.I., HCI (Human-Computer interaction), ludology based gamestudies as well as datamining. The study shows that Ubisoft Massive uses several developer tools to predict how the player will interact with the game, such as datamining and game testing. A lot of details have been used get the player invested in the game, such as lighting effects, sound design and environments. The game uses deterministic A.I. to make the non-player characters seem more organic and they’ve interacted with players on communities to find out what players are looking for in games.

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43

Viswanathan, Vijay. "Study Of Cu free back contacts to thin film CdTe solar cells." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000348.

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44

Behne, Klaus-Ernst. "Film, Musik, Video, oder, die Konkurrenz von Auge und Ohr /." Regensburg : G. Bosse, 1987. http://catalogue.bnf.fr/ark:/12148/cb375082569.

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45

Giuliano, Federico. "Nanoindentazione di film sottili di PEDOT:PSS su substrato rigido." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7684/.

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In questa tesi vengono presentati i risultati sperimentali di nanoindentazione su film sottili di PEDOT:PSS depositato su substrato rigido (vetro). Nella prima parte viene presentato lo sviluppo della teoria classica sul contatto meccanico tra due superfici elastiche, sviluppata per la prima volta da Hertz nella seconda metà dell'Ottocento. Nel Capitolo 2 si entra maggiormente nel dettaglio con la spiegazione del metodo sviluppato da Oliver e Pharr per misurare alcune proprietà meccaniche dei materiali tramite la tecnica della nanoindentazione utilizzata in questo esperimento. Particolare riguardo viene dato al modo in cui vengono misurate le quantità fisiche rilevanti, ovvero modulo di Young e durezza. Nel terzo capitolo vengono descritte brevemente la struttura del polimero PEDOT:PSS e la tecnica utilizzata per sintetizzarlo a partire dal suo monomero, l'EDOT. Nel Capitolo 4 una sezione è dedicata alla descrizione della preparazione dei campioni di PEDOT:PSS utilizzati in questo esperimento, quindi una parte è dedicata alla descrizione dello strumento di misura, mentre la restante parte del capitolo è riservata alla presentazione dei risultati sperimentali con l'aiuto di grafici e tabelle. Nella parte finale di questo lavoro si riportano alcune conclusioni sui risultati ottenuti.

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46

Joost, Gesche. "Bild-Sprache die audio-visuelle Rhetorik des Films." Bielefeld Transcript, 2007. http://d-nb.info/988718162/04.

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47

Bodrow, Irina [Verfasser]. "Die Odyssee der Neuen Amerikanischen Filmheldin / Irina Bodrow." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1048047385/34.

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48

Scharf, Monika. "Lars von Triers "Dogma 95" und die Folgen." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675826.

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49

Powell, Daniel Russell. "Assessment of tear film and ocular surface alterations in cigarette smokers." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374074625.

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50

Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.

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