Dissertations / Theses: 'Early film history'

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Tang, GVGK. "The Surprise of a Knight: Excavating Material Legacies through Early Queer Film." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/567974.

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History
M.A.
Absent provenance or any background information, and with both implicit and explicit barriers to access within the archival space, how can we hypothesize—or critically fabulate—queer material legacies? The first—or earliest extant—American film to explicitly depict “queer” sex is The Surprise of a Knight (1929). By synthesizing perspectives on archives, material culture, queer identity, film, the Internet and pornography, this paper treats Surprise as an entry point into a discussion of public history and sexuality—revealing current issues with processing erotic materials and their impact on queer historiographies. This study outlines the problems presented by Surprise and explores contingencies for historical contextualization—methods public historians (archivists and interpreters alike) may adapt to fit similar materials within a broader history of film and queer identity. It explores current methods and future conundrums for best practices in the preservation of (born-digital) pornography, and concludes with impressions from potential audiences and present-day content producers as a means of envisioning new avenues of queer grassroots history-making.
Temple University--Theses

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Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.

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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

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Slowik, Michael James. "Hollywood film music in the early sound era, 1926-1934." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.

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This dissertation traces the history of the early Hollywood sound score for feature films between the years 1926 and 1934. In the growing literature on film sound, no topic has enjoyed more attention than film music. Yet film music scholars have almost uniformly written off film music in the early sound era (1926-1932). Believing the use of "nondiegetic" music (music without a source in the image) in the early sound era to be minimal, scholars have posited a striking narrative in which King Kong, released in 1933, burst onto the scene featuring a score that single-handedly revolutionized film music practices and paved the way for the heavily studied Golden Age of film music (1935-1950). In fact, a host of film scores preceded King Kong, scores which with rare exceptions have received no attention. Due to this inattention, scholars have mischaracterized the nature of late 1920s and early 1930s sound film, overlooked important and unusual early sound film music strategies and failed to offer any satisfactory account for the rise of the Golden Age of film music. Based on screenings of hundreds of early sound films, I demonstrate that the early sound era featured a wide array of musical approaches rather than a single-minded avoidance of nondiegetic music. Drawing upon musical techniques from opera, melodrama, musicals, phonography, radio, and silent films, the early sound era featured an eclectic mix of accompaniment practices. Though early synchronized sound films largely adhered to a silent film music model, the advent of synchronized dialogue encouraged the use of several other conflicting musical accompaniment models. The late 1920s featured a substantial reduction in musical accompaniment, but the period still contained a diverse array of film score experiments rather than a total avoidance of nondiegetic music. By the early 1930s, a more consistent musical approach emerged, in which music was tied to unfamiliar settings or heightened internal mental states. This tactic exerted a considerable influence on King Kong's score and continued to be influential on musical accompaniment practices in the classical era. The first chapter surveys a range of musical influences available to film music practitioners in the years leading up to the transition to sound. Chapter two then analyzes the film score in early synchronized films and part-talkies from 1926-1929, while chapter three examines the use of music in "100% talkies" from 1928-1931. After chapter four discusses the special case of the film score in the early musical from 1929-1932, chapter five examines the score for non-musicals from 1931 to just before the release of King Kong in April of 1933. In light of the plethora of pre-King Kong scores discussed in this study, chapter six offers a radical revision of King Kong's contribution to film music history. Finally, the Conclusion examines the early sound score's legacy in the Golden Age of film music.

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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.

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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD

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Rieger, Bernhard Wolfgang. "Public readings of technology film, aviation, and passenger liners in Britain and Germany, 1890s to early 1930s /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.313461.

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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.

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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.

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Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.

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Tofighian, Nadi. "Blurring the Colonial Binary : Turn-of-the-Century Transnational Entertainment in Southeast Asia." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94155.

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This dissertation examines and writes the early history of distribution and exhibition of moving images in Southeast Asia by observing the intersection of transnational itinerant entertainment and colonialism. It is a cultural history of turn-of-the-century Southeast Asia, and focuses on the movement of films, people, and amusements across oceans and national borders. The starting point is two simultaneous and interrelated processes in the late 1800s, to which cinema contributed. One process, colonialism and imperialism, separated people into different classes of people, ruler and ruled, white and non-white, thereby creating and widening a colonial binary. The other process was bringing the world closer, through technology, trade, and migration, and compressing the notions of time and space. The study assesses the development of cinema in a colonial setting and how its development disrupted notions of racial hierarchies. The first decade of cinema in Southeast Asia, particularly in Singapore, is used as a point of reference from where issues such as imperialism, colonial discourse, nation-building, ethnicity, gender, and race is discussed. The development of film exhibition and distribution in Southeast Asia is tracked from travelling film exhibitors and agents to the opening of a regional Pathé Frères office and permanent film venues. By having a transnational perspective the interconnectedness of Southeast Asia is demonstrated, as well as its constructed national borders. Cinematic venues throughout Southeast Asia negotiated segregated, colonial racial politics by creating a common social space where people from different ethnic and social backgrounds gathered. Furthermore, this study analyses what kind of worldview the exhibited pictures had and how audiences reproduced their meanings.

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Hanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.

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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

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Smith, Jaclyn A. "D.W. Griffith’s Biograph Shorts: Teaching History with Early Silent Films, 1908-1922." University of Toledo / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1197411493.

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Smith, Jaclyn A. "D. W. Griffith's biograph shorts : teaching history with early silent films, 1908-1922 /." Connect to Online Resource-OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=toledo1197411493.

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Thesis (M.A.)--University of Toledo, 2007.
Typescript. "Submitted as partial fulfillment of the requirements for the Masters of Arts Degree in History." "A thesis entitled"--at head of title. Bibliography: leaves 141-153.

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Hockenjos, Vreni. "Picturing Dissolving Views : August Strindberg and the Visual Media of His Age." Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : Almqvist & Wiksell International [distributör], 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7024.

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Dayton, Amy Elizabeth. "REPRESENTATIONS OF LITERACY: THE TEACHING OF ENGLISH AND THE IMMIGRANT EXPERIENCE IN EARLY TWENTIETH-CENTURY AMERICA." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1264%5F1%5Fm.pdf&type=application/pdf.

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Wang, Bo. "Inventing a Discourse of Resistance: Rhetorical Women in Early Twentieth-Century China." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.

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Mansilla, Judith M. "Firm Foundation: Rebuilding the Early Modern State in Lima, Peru after the Earthquake of 1687." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2443.

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One early October morning in 1687, the ground under the large Spanish colonial city of Lima, Peru rumbled. If longstanding historiographical portraits of Spanish government as inefficient and weak were true, the earthquake that was about to shatter Lima should have devastated it beyond repair. The study of the aftermath of this natural disaster reveals that behind the landscape of destruction, the pillars of the colonial state in Lima not only held up but also permitted its rapid recovery after the event. As part of a more recent historiographical trend that reappraises the Spanish decline during the seventeenth century, my dissertation reevaluates the performance of colonial administration in Lima, the capital of the Viceroyalty of Peru. It focuses on deliberate changes carried out during the 1680s, when the metropolis implemented a series of fiscal and administrative reforms, whose effects were interrupted but not destroyed by the challenge posed by the earthquake of 1687. The use of extensive contemporary archival sources, both official and private, provides a multifaceted vista on the performance of royal agents and colonial subjects responding to the earthquake. A close reading of these sources unveils the rebuilding of the state in various facets: government attempts to impose authority and bring order to the chaos; the patrimonial logic of rules that colonial administrators faced when trying to implement rebuilding projects; colonial subjects’ expectations of royal agents and each other; negotiations among authorities and ordinary people over the terms of rebuilding the city; and the importance of inhabitants’ understandings of justice, founded in law and custom, to carrying out city reconstruction.

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Winston, Susan. "Great Exhibitions : representing the world at the Great Exhibition, the Crystal Palace at Sydenham and early British films shows." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309960.

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Tan, Jeffery. "The Shaw Brothers' exploitation of sex in Hong Kong films of the early 1970s." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609580.

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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.

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Balan, Canan. "Changing pleasures of spectatorship : early and silent cinema in Istanbul." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1985.

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This project explores a curious facet of early cinema that has not been studied as yet: the relationship between Turkish modernity and the culture of spectatorship within the context of the late nineteenth century’s viewing habits along with the era of early and silent cinema in Istanbul. The aim of this project is to examine the evolution of viewing habits in Istanbul at a particular period in which a radical cultural transformation was experienced, namely from the 1890s to the 1930s, when the late Ottoman era with its pre-cinematic shows, the cinematograph, and silent films led to the early Turkish Republic and the end of silent cinema. In order to cover the shift in the reception of early cinema, this study makes use of revisionist works on early cinema and on modernity in Ottoman history. To this end, newspapers, novels, memoirs and consular trade records that formed the majority of the primary sources of this project are analyzed. The transformation of Istanbulite spectatorship was initially experienced through a rupture in the late nineteenth century created by the global flow of mechanical images. The cinematograph was viewed by a multi- ethnic public that was accustomed to seeing both traditional and other more widely recognized pre-cinematic shows such as the shadow play, public storytelling, dioramas, panoramas and magic lanterns. At first the early cinematograph displays were haphazard and parts of other shows. Yet, the international influence of the early cinema attracted a curiosity-driven public even if the same public was critical of the imperfect technology of the apparatus. With the outbreak of World War I, nationalist resistance played a role in the reception of popular European films, particularly Italian melodramas. The end of the war caused the demise of the Ottoman Empire and the foundation of the Turkish Republic, after which, cinema started to be seen as an educational tool in the service of nation-building.

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Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.

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Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les traces
This research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces

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Gahéry, Rodolphe. "Les premières actualités filmées (1895-1914) : des Cinématographes au Cinéma ?" Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?URL=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100108/2020PA100108.pdf.

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À travers une histoire des débuts de la presse filmée en France de 1895 à 1914, cette thèse a pour ambition première d’éclairer sous un jour nouveau le processus d’institutionnalisation des pratiques cinématographiques à l’œuvre à la même époque. Depuis les années 1980, les recherches consacrées au « cinéma des premiers temps » sont dominées par une approche qui place l’essor de la fonction narrative des films au cœur de ces évolutions (André Gaudreault, Tom Gunning, etc.). Sans renier ces travaux, on propose de les compléter, en considérant le développement des actualités filmées comme l’un des facteurs-clés — mais jusqu’ici négligé des débuts du cinéma, notamment dans l’élaboration de son rapport au réel (distinction entre fiction et non-fiction) et de son inscription dans l’histoire.Après une étude à la fois définitionnelle et intermédiatique des origines des actualités filmées, se succèdent deux parties articulées autour du concept d’« imageries », qui renvoie en l’occurrence à tout ce qui entre dans la constitution d’ensembles d’images définis. Ces deux parties centrales s’attachent à analyser le déploiement d’une production spécifique au sein des firmes, avant de se concentrer sur les films eux-mêmes, en particulier les reconstitutions et les journaux. Des imageries aux images, une quatrième et dernière partie, plus théorique, envisage les actualités en tant que représentations, dans leurs formes et leurs discours, avant d’en étudier la place et le rôle dans le processus d’institutionnalisation du cinéma
Through a history of the beginnings of the filmed press in France from 1895 to 1914, this thesis aims primarily to shed new light on the process of institutionalization of cinematographic practices at work at the same time. Since the 1980s, research devoted to early cinema has been dominated by an approach that places the rise of the narrative function of films at the heart of these evolutions (André Gaudreault, Tom Gunning, etc.). Without denying these works, it is proposed to complete them, by considering the development of newsreels as one of the key factors—but so far neglected—of the beginnings of cinema, especially in the elaboration of its relation to reality (distinction between fiction and non-fiction) and its inscription in history. After a definitional and intermedial study of the origins of filmed news, two parts follow one after the other, around the concept of “imagery”, which in this case refers to everything that goes into the constitution of defined sets of images. These two central parts attempt to analyse the deployment of a specific production within firms, before focusing on the films themselves, in particular reconstructed news and filmed newspapers. From imagery to images, a fourth and last part, more theoretical, considers newsreels as representations, in their forms and discourses, before studying their place and role in the process of the institutionalization of cinema

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Zarate, Casanova Miguel Angel. "The Construction of Early Modernity in Spanish Film." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-08-10081.

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The presence of early modern Spanish history in Spanish film has received only limited scholarly attention. The entire group of Spanish films dealing with the Spanish early modern era has never been placed under study by any overarching research. This dissertation reframes the evolution of the cinematographic representation of the Spanish past as it studies the mechanisms employed by Spanish films in representing an essential part of Spanish past: early modernity. Studied are 19 period films that group themselves around some of most representative subjects in early modernity: the Monarchy and Nobility, and the Spanish Inquisition. Studied also is the most expensive Spanish period film, Alatriste (2006). Through the analysis of artistic, industrial, historiographical, and political elements, and the deconstruction of the historical message of each film, as well as the analysis of their reception, it is clear that Spanish period films set in early modernity tell us as much about the time of their making and the shaping of the historical consciousness of Spain as they do about the era that they represent on screen.

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Głownia, Dawid. "Początki kina w Japonii na tle przemian społeczno-politycznych kraju." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/73401.

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W rozprawie omówione zostały wczesne dzieje kina w Japonii w odniesieniu do szerszych procesów społecznych, kulturowych, ekonomicznych i politycznych, jakie wystąpiły w Japonii w epoce Meiji. Rozprawa składa się z pięciu rozdziałów ułożonych w kluczu chronologicznotematycznym. W pierwszym rozdziale zaprezentowano definicję, historyczne przekształcenia oraz wewnętrzne zróżnicowanie pokazów misemono i yose, identyfikowanych jako istotny kontekst dla rozwoju wczesnej branży filmowej w Japonii. Rozdział drugi poświęcony został działalności filmowej importerów pierwszych technologii filmowych i ich pracowników. W trzecim rozdziale omówione zostały początki produkcji filmowej w Japonii - zarówno filmy rejestrowane tam przez zagranicznych operatorów filmowych, jak i pierwszych krajowych twórców filmowych. Rozdział czwarty poświęcony jest został przedstawianiu I wojny chińskojapońskiej i wojny rosyjsko-japońskiej w mediach wizualnych, w tym - w przypadku tego drugiego konfliktu - w filmie. W rozdziale piątym omówione zostały takie zagadnienia, jak rozwój japońskiej branży filmowej po zakończeniu wojny rosyjsko-japońskiej, charakterystyka japońskiej branży filmowej w drugiej dekadzie XX wieku, oraz wykształcenie się systemu gwiazdorskiego i systemu cenzury filmowej.
The dissertation discusses the early history of cinema in Japan in the context of broader social, cultural, economic, and political transformations of Japan in the Meiji era. The dissertation is divided into five chapters. The first chapter presents the definition, historical transformations, and diversification of misemono shows and yose, which are identified as an important context for the development of early Japanese cinema industry. The second chapter is devoted to the film activities of first film technologies importers and their employees. The third chapter discusses the beginnings of film production in Japan - both films shot in Japan by foreign cameramen and films produced by the first domestic filmmakers. The fourth chapter discusses depictions of the First Sino-Japanese War and the Russo-Japanese War in visual media, including - in case of the second conflict - film. The fifth chapter is devoted mainly to issues such as the development of Japanese film industry after the Russo-Japanese War, the specificity of Japanese film industry in 1910, and the development of Japanese film star system and film censorship system.

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(11186181), Christina M. McCarter. "HINGED, BOUND, COVERED: THE SIGNIFYING POTENTIAL OF THE MATERIAL CODEX." Thesis, 2021.

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The 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.

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Marzloff, Alice. "La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)." Thèse, 2016. http://hdl.handle.net/1866/16134.

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La cinématographie-attraction a longtemps été considérée comme les débuts du cinéma, jusqu’à ce qu’une controverse, en 1978, marque une rupture historiographique et la considère comme un objet d’études à part entière, distinct du cinéma institutionnel. Nous l’analysons ici dans le contexte de Montréal, entre la présentation du Cinématographe Lumière en 1896 et l’entrée en fonction du Bureau de censure des vues animées de la province du Québec en 1913. Plus précisément, nous interrogeons son institutionnalisation à la lumière de la législation ; les représentants du gouvernement canadien donnent un statut juridique aux vues animées en modifiant et en votant des textes légaux. Cette étude définit le contexte cinématographique, historique et géographique. Elle aborde ensuite trois domaines de la cinématographie-attraction qui ne sont pas les mêmes que ceux du cinéma : la fabrication (le financement, le tournage et la modification des œuvres cinématographiques), l’exhibition (les séances de projections payantes d’images animées) et la réception (les jugements portés sur les vues animées). Nous montrons comment la cinématographie-attraction est d’abord contrôlée par de nombreuses personnes (celles qui financent, celles qui tournent les vues animées, les propriétaires de lieux d’amusements, le policier ou le pompier présent au cours des projections), puis par des institutions reconnues et les représentants du gouvernement. En nous appuyant sur la presse montréalaise, les discours officiels, les discours diocésains, les textes légaux, les catalogues publiés par les compagnies de fabrication et sur les vues animées, nous montrons quels sont les enjeux de l’institutionnalisation pour les différents groupes sociaux.
Cinématographie-attraction / kine-attractography has for a long time been associated with the origins of cinema. But in 1978, an academic controversy created a rift in cinematic historiography and these works were subsequently deemed to be a separate object of study, one distinct from institutional cinema. This thesis will focus on kine-attractography in the setting of Montreal from the use of the Lumière Cinematograph projector in 1896 to the founding of the Quebec Board of Censorship in 1913. The legislative context surrounding these new forms of ‘amusement’ will be discussed (bills were modified or created to address legal questions). This thesis will investigate these events within the relevant historical, geographical and cinematographic contexts. It will then consider three aspects of kine-attractography that differ from those in cinema: manufacturing (which includes the way cinematic works were financed, shot and later modified), exhibition (the matter of where and how these works were shown) and reception (the ways these works were evaluated or judged). We will discuss how kine-attractography was initially overseen by diverse groups of people (from those who financed or shot the moving pictures, to the owners of ‘amusement’ theatres, to the policeman or fireman who was present at each projection), and then subsequently overseen by recognized institutions, government representatives included. We will explore the issues which accompanied its institutionalisation relative to these various groups by studying articles and ads in Montreal’s newspapers, legal texts, official pronouncements, diocese speeches, catalogues published by manufacturing companies, and the moving pictures themselves.

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Holloway, Marilyn June. "Cole Porter : the social significance of selected love lyrics of the 1930s." Diss., 2010. http://hdl.handle.net/10500/4209.

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This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content.
English
M.A. (English)

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Bacelar, de Macedo Luiz Felipe. "Le cinéclub comme institution du public : propositions pour une nouvelle histoire." Thèse, 2017. http://hdl.handle.net/1866/20156.

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Westfall, Mandy R. K. "An elegy to Charlie Chan : Chang Apana, Earl Derr Biggers and Asian America." Thesis, 2007. http://hdl.handle.net/10125/20390.

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Dissertations / Theses on the topic 'Early film history'

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