Dissertations / Theses on the topic 'Dystopian films'
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McGinney, William Lawrence. "The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.
Full textBowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.
Full textID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities
Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.
Full textHinders, Katherine Elizabeth. "Reproducing Patriarchy: Dystopian (In)fertility Onscreen." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2582.
Full textSaunders, Victoria M. "Designing Depth: creating dystopia through architecture and film." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265588.
Full textEdgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.
Full textStjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.
Full textKumbalonah, Abobo. "Mobility and the Representation of African Dystopian Spaces in Film and Literature." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1439460633.
Full textVieira, Kathleen M. "Past the Darkness." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2652.
Full textWarwick, Harry. "The aesthetics of enclosure : dystopia and dispossession in the 1980s Hollywood science-fiction film." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427159/.
Full textLjungkvist, Angela. "WAKE UP! : En uppsats om framtiden." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6883.
Full textUppsatsen belyser olika händelser som finns beskrivna i tre olika dystopiska filmer från 2000-talet. Uppsatsen jämför händelser i filmerna med historiska och nutida händelser i vårt samhälle. Uppsatsen försöker även visa om filmerna visar trovärdiga framtidsscenarion.
Geef, Dennis [Verfasser]. "Late Capitalism and Its Fictitious Future(s) : The Postmodern, Science Fiction, and the Contemporary Dystopia / Dennis Geef." Bonn : Universitäts- und Landesbibliothek Bonn, 2015. http://d-nb.info/1077265468/34.
Full textDuval, Laura K. "The Marked." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2690.
Full textMumme, Lisa Pollock Mumme. "Not things: gender and music in the Mad Max franchise." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7056.
Full textBauer, Robert B. "Resisting the Resistance: The Emancipation of Students from the Hidden Curriculum of Commodified Resistant Narratives in Young Adult Dystopian Film Through Open Pedagogical Space and Culture-Jamming." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5621.
Full textSwenson, Sean Michael. "Masculinity, After the Apocalypse: Gendered Heroics in Modern Survivalist Cinema." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5136.
Full textTaschler, Brigitte <1976>. "The representation of violence in five dystopian film narratives : myth, catharsis and adaptation in '28 Days Later', '28 Weeks Later', 'Children of Men', 'The Road' and 'V for Vendetta' : five case studies." Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1154.
Full textThis thesis deals with the representation of violence in five dystopian film narratives: 28 Days Later (2002), 28 Weeks Later (2007), Children of Men (2006), The Road (2009) and V for Vendetta (2006). The first part of the study addresses the adaptation process analysing the transformations fictional violence undergoes when transferred from one medium to another. The focus lies on the semiotic systems of the novel, the graphic novel and the film. The theoretical aspects are illustrated by the close comparative analysis of emblematic scenes taken from the works in question. The second part of this study focuses on the films as autonomous works. My thesis sustains that violence, which is central to these films, can have a cathartic effect on the viewer. However, catharsis requires the presence of underlying mythical elements which reflect deeply rooted human anxieties. The quality of the catharsis can be tragic or melodramatic, depending on the complexity of plot and characters.
Akkan, Goksu. "Audiovisual representations of Artificial Intelligence in Dystopian Tech Societies: Scaremongering or Reality? The Cases of Black Mirror (Charlie Brooker, 2011), Ex Machina (Alex Garland, 2017) and Her (Spike Jonze, 2014)." Doctoral thesis, Universitat Ramon Llull, 2021. http://hdl.handle.net/10803/671832.
Full textLa inteligencia artificial es un concepto que fascina a la humanidad durante milenios. Desde la antigüedad, los humanos han estado obsesionados con la idea de crear un humano artificial perfecto para diferentes fines, como la compañía o la ayuda doméstica, y han escrito sobre ello en textos fundacionales de diversas culturas. Esto se convirtió progresivamente en literatura de protofantasía o proto-ciencia ficción en la Alta Edad Media. Sin embargo, no fue hasta el siglo XIX cuando la influyente obra Frankenstein (1818) de Mary Shelley reunió diferentes aspectos de la creación de un ser humano artificial, discutidos dentro de una comprensión psicológica y social más amplia. Con la llegada de los medios audiovisuales en el siglo XX, estas representaciones de humanoides creados artificialmente o de otras creaciones con cierto grado de conciencia han poblado tanto la gran pantalla como la televisión. Esta tesis se centra en las conexiones sociales de dichas representaciones de la Inteligencia Artificial, centrándose en la serie de televisión Black Mirror (Charlie Brooker, 2011), así como en las películas Ex Machina (Alex Garland, 2014) y Her (Spike Jonze, 2014), analizando las relaciones entre la Inteligencia Artificial y los humanos desde una variedad de perspectivas y paradigmas diferentes. El análisis audiovisual de las obras seleccionadas va seguido de una exploración sobre cómo estos avances tecnológicos recientes se están produciendo en nuestra sociedad actual, vinculándolos con las advertencias que formulan las obras seleccionadas y ofreciendo una lectura de futuro que requiere la implementación de una estricta normativa en torno a la Inteligencia Artificial para aliviar las ansiedades humanas sobre la tecnología. Palabras clave: inteligencia artificial, tecnología, sociedad, ciencia ficción, distopía, estudios cinematográficos.
Artificial Intelligence has been a concept that has infatuated humankind for millennia. Since antiquity, humans have been obsessed with the idea of creating a perfect artificial human for different aims such as companionship or domestic help, and ancient cultures have devoted foundational texts to the artificial human. This literary occupation gradually evolved into proto-fantasy or proto-Science Fiction literature in the early middle ages. However, it wasn’t until the 19th century that Mary Shelley’s influential work Frankenstein (1818) brought together different aspects of creating an artificial human discussed within a broader social and psychological understanding. With the advent of audiovisual media in the 20th century, such representations of artificially created humanoids or other creations with some degree of consciousness have populated both the silver screen and television. This thesis focuses on the societal connections between such representations of Artificial Intelligence, focusing on the TV show Black Mirror (Charlie Brooker, 2011) as well as the films Ex Machina (Alex Garland, 2014) and Her (Spike Jonze, 2014) by analyzing the Artificial Intelligence - human relationships from a variety of different perspectives and paradigms. The audiovisual analyses of the selected works are then followed by an examination of how such recent technological developments are taking place in our current society. These texts under examination exhort us to beware the potential dangers of AI technology, which require implementation of strict regulations around the Artificial Intelligence framework in order to alleviate human anxieties about technology. Keywords: Artificial Intelligence, technology, technology and society, Science Fiction, dystopia, film studies, society.
Rodriguez, Nogueira François. "La société totalitaire dans le récit d'anticipation dystopique, de la première moitié du XXè siècle, et sa représentation au cinéma." Thesis, Nancy 2, 2009. http://www.theses.fr/2009NAN21030/document.
Full textThe utopian tradition a long time maintained the dream an ideal society located in one elsewhere, a u-topos, the "place which is not" in the Utopia of Thomas More. The representation of these Utopias is indissociable of a determining factor for the construction of a better world: progress. Thus, this tradition is characterized by the Promethean accent of such a company, they are hands of the man who this new society will be worked. However, the point of view on the possibility of an ideal society gradually will inflect, in particular during the 19th century, to be reversed in a radical way at the beginning of the 20th century. Named anti-Utopia or against-Utopia, this disillusion underlines the impotence of the man and the ambiguous role of progress to invent the perfect society. Sometimes used as synonym of anti-Utopia, the dystopia more precisely characterizes the texts which describe a society directed by an absolute system of oppression, based on an omnipotent State, and almost always scientifically organized. Thus, abnormal operations of the city of the future in The World such as it will be of Emile Souvestre, in 1846, in the State Unique in Us of Evgueni Zamiatine, written in 1920, the dystopia evolves by taking the form of the account of science fiction, and in particular that of anticipation. We will see, in particular, how the Utopia takes seat in works of Jules Verne and H.G. Wells. Zamiatine, very inspired by Wells, is the first great writer of the 20th century to be made use of the dystopia to describe the attributes of the totalitarian society. Thus, if our step consists, initially, to appoint the authors and texts which took part in the emergence of the dystopia, our analysis will primarily carry on Us and three other Romance founders of the dystopia at the 20th century: Brave New World of Aldous Huxley, published into 1932, 1984 of George Orwell, published in 1948 and Fahrenheit 451 of Ray Bradbury, published in 1953. We will study the totalitarian phenomenon according to interpretations that make our authors of them. It will be thus a question of the collectivization of the individual, the propaganda or the role of science in the organization of the totalitarian society. But it will also be a question of showing how our dystopies illustrates the combat of art against the totalitarian entropy, and the engagement of their authors in a true political discourse. Lastly, it appears essential to describe what perhaps appears as the most effective form of the representation of the dystopia: the science fiction film. We will see why the novel dystopic sorrow more and more support the comparison face to the immediacy of the language of the moving image
Asif, Hazem. "The Mall: A world-building speculation on the future of privacy." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5403.
Full textHachtel, Julia. "Die Entwicklung des Genres Antiutopie : Aldous Huxley, Margaret Atwood, Scott McBain und der Film "Das Leben der Anderen" /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3008882&prov=M&dok_var=1&dok_ext=htm.
Full textMcDermott, Joshua. "Terayama Shuji and the Emperor Tomato Ketchup : the children's revolution of 1970." Thesis, 2005. http://hdl.handle.net/10125/11971.
Full textDe, Jager Thea Laurette. "The poesis of decay : a painter's response to the dystopian aesthetic." Diss., 2019. http://hdl.handle.net/10500/26241.
Full textArts and Music
M.A. (Visual Arts)
Burkhart, Diana Q. "Dystopian impulses in contemporary Peninsular literature and film." 2008. http://wwwlib.umi.com/dissertations/fullcit/3362812.
Full textCheng, I.-Ju, and 鄭亦茹. "A Study of Heroines in Dystopia Science Fiction Films." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/15698762181047042291.
Full text淡江大學
大眾傳播學系碩士班
103
Science is the element used to develop the story in science fiction films. It is presented as a masculine element. When the element of dystopia is brought to the narrative discourse of a film, science becomes the fountainhead of a negative future in which the idea of words and ideas as superior is destroyed. This study investigates the backgrounds of heroines from such a background, beginning by analyzing their environments. It then investigates the heroines’ status, how it’s affected by gender issues, and finally their interaction in the film’s narrative as viewed according to feminist ideas. This study selected three prominent sci-fi film series for analysis: “Alien”, “Terminator”, “The Hunger Games”. The study reveals that the concept of dystopia usually emerges in the heroines’ workplaces, which will also show the embodiment of patriarchy restricting the heroines’ behavior. Sometimes the heroines’ appearances are masculinized while they don phallic symbols in the form of weapons, but they can also use their femininity to accomplish their heroic goals, similar to what second-wave feminism would call “androgyny”. In the plots, although the heroines’ looks may be far from standard ideas of beauty, they also can evoke male desire, as well as the image of motherhood, and so romantic love will still often become a key element of such heroines.
Ševců, Josef. "Obraz masových médií v dystopických filmech natočených od 70.v let 20. století." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-333461.
Full textMuñoz, Zapata Juan Ignacio. "Le cyberpunk vernaculaire de l’Amérique latine : dystopies, virtualités et résistances." Thèse, 2009. http://hdl.handle.net/1866/3240.
Full textHeirs to the tradition of Borgesian fantasy, impregnated by a reality built upon pre-Columbian myths and the industrial residues of modernity, and developed in the age of globalisation, postmodernism, videogames, digital cinema and animation, Latin American cyberpunk is cultivated from Mexico to Argentina, passing through Cuba and other countries not usually recognized in the world of science fiction like Paraguay and Bolivia. Barely perceived in the works of certain canonical writers such as Ricardo Piglia, Carmen Boullosa or Edmundo Paz-Soldán, cyberpunk manifests itself fully in the writings of young interdisciplinary artists and constant fanzine collaborators. This sub-genre adaptation in a continent better known not only for “lo real maravilloso” and magical realism, notwithstanding other more recent generations of writers such as “McOndo” and “Crack”, tries to elaborate a series of responses to questions issued from the historical and artistic moment of contemporary life: how to place Latin American identity within the new worldwide cultural mapping by means of a literature searching to reinvent itself within the mainstream space and the marginality of its own genre? What are the strategies of assimilation and resistance adopted by these young Latin American cyberpunk writers in the face of literary and cinematographic Anglo American cyberpunk? Can one speak of an aesthetic and philosophical impact on Latin American culture, normally perceived not as a producer but rather a passive consumer of this sort of cultural production? This thesis intends to deal with these questions in reflecting on one of the constituent devices of cyberpunk: dystopia in conjunction with post-identitary discourses in Latin America. An almost mimetic representation of Latin America’s sociocultural and historical space through violence and political, military ethnic or sexual repression, dystopia is a means to articulate certain spatial figures in national myths and identity politics within the context of globalisation. This latter sociocultural reality, along with the aesthetic ideology that conveys it throughout cyberpunk, enters in conflict with those discourses of national identity, leading us to reflect on post-identity issues. Relying on works on dystopia and identity in Anglo American cyberpunk, as well as on Latin American cultural studies, I will peruse a corpus made up of the novels La primera calle de la soledad (1993) by Gerardo Horacio Porcayo, Santa Clara Poltergeist (1991) by Fausto Fawcett, Ygdrasil (2005) by Jorge Baradit, and the films No muera sin decirme adónde vas (1992) by Eliseo Subiela and La sonámbula (1998) by Fernando Spiner. In these works, dystopia meshes with virtual reality narratives and covers aspects of the identity such as national and sexual myths, memory, trauma as well as minorities utopian projects.
Franková, Alžběta. "Seriálová adaptace jako intersémiotický překlad: převod románu M. Atwood The Handmaid's Tale do televizního seriálu." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393622.
Full textMéthot, Benoit. "Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés." Thèse, 2008. http://hdl.handle.net/1866/7918.
Full text(9897353), O. Efthimiou. "Dreaming the posthuman in cyberspace : war of the worlds and the return of the un/real in Tron: Legacy." Thesis, 2012. https://figshare.com/articles/thesis/Dreaming_the_posthuman_in_cyberspace_war_of_the_worlds_and_the_return_of_the_un_real_in_Tron_Legacy/13462319.
Full text(11186181), Christina M. McCarter. "HINGED, BOUND, COVERED: THE SIGNIFYING POTENTIAL OF THE MATERIAL CODEX." Thesis, 2021.
Find full textThe idea of “the
book” overflows with extraneous significance: books are presented as windows,
gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and
they are a method of escape. The book has long represented much more than a
static, hinged, bound, covered object inscribed with words. Even when a book is
not performing an elaborate, imaginative function, the word “book” very often
signifies the text it holds or even the text’s author: You can open The Bluest Eye or carry Toni Morrison in
your bag. Fourteenth-century author Geoffrey Chaucer invokes a “book” by
“Lollius” as authoritative source of his
Troilus and Criseyde, though no person exists; likewise, to conclude the
same text, Chaucer asks directs his project to “go, litel bok, go.” When a book
makes an appearance in narrative, it is rarely just a book—without legs, the book moves, and without breath, it
lives. This dissertation asks what about the shape of the codex has helped the
book become such a metaphorically rich signifier.
This dissertation attempts to unravel the various threads of meaning that make up the complex “idea of the book.” I focus on one of these threads: the book as a material object. By focusing on how the book as object—not the book as idea—functions within narrative, I argue that we can identify what about the book object enables its metaphorical range. I analyze moments in literature, television, and film when metaphorical functions are assigned, not to an ephemeral, complex idea of the book, but rather to the material realities of the book as an object. In these moments, the codex’s essential, material shape (what I am calling its bookishness) enables metaphorical functioning; I show that, by examining when mundanely physical bindings, pages, covers, and spines initiate metaphorical action, we can identify how the material book has come to mean so much more than itself.
Indeed, despite a renewed appreciation for the book as both material and cultural object, books have become so significantly meaningful that attempts to define “the book” evade simplicity, rendering books as everything and nothing at the same time. My inquire explores this complexity by starting with a simple premise: Metaphors are based on some element of physical truth. Though the book has sprouted in a variety of metaphorical directions, many of those metaphors are grounded in the book’s material realities. Acknowledging this, especially in an age of fast-evolving media and bookish fetishism, offers a valuable and novel perspective on how and why books are both semantically rich and culturally valued objects.