Relevant bibliographies by topics / Film aesthetics / Dissertations / Theses
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Dissertations / Theses on the topic 'Film aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Wood, Sarah. "Lost film found film." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.

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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema o
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2

Downey, John William. "Aesthetics, critical theory, and cinema." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260587.

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3

Hoffman, Sarah G. "Not Just Entertainment: Hollywood Animation and the Corporate Merchandising Aesthetics and Narratives for a Children’s Audience." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490966620486322.

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4

Rocha, Antunes Luis. "The multisensory film experience : a cognitive model of experiential film aesthetics." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62461/.

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This thesis introduces the concept of the multisensory film experience through a cognitive model of experiential film aesthetics in which we argue in favour of the idea that spectators can have perceptual experiences of film in the realm of thermoception, nociception and the vestibular sense-all of which are senses outside of the classic senses of sight and hearing examined in the context of film studies. We examine each of these senses in relation to the work of three contemporary film directors who have taken stylistic and experiential advantage of these senses to build their own authorial v
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5

Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.

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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individ
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6

Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic." English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.

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PhD<br>The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ –
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7

McCann, G. K. "The keys to dreamland : Marxism, aesthetics and film." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236971.

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8

Mokoena, Katleho Karabo. "Black aesthetics and the son of man film." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63033.

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The Son of Man (2006) is the first film in the Jesus film genre with an entirely black cast, including the leading role of a black Jesus. Historically, the Jesus film genre has been produced by western filmmakers with a white cast in ancient film sets, portraying how the world of Jesus would have been in first century Palestine. Portrayals of Jesus are, thus, typically portrayed as a white man with long blonde hair, blue eyes, and long white/brown robes with sandals. Son of Man however, places the narrative of Jesus in a contemporary South African context. Jesus is black, bald-headed, sp
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Mroz, Matilda. "The aesthetics of cinematic duration in theory and film." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612172.

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10

Taylor, James. "Hollywood superheroes : the aesthetics of comic book to film adaptation." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93641/.

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This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the developm
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Vitali, Valentina. "The aesthetics of cultural modernisation : Hindi cinema in the 1950s." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268856.

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12

Magara, Cindy Evelyn. "Contemporary East African Cinema: Emergent Themes and Aesthetics." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/24115.

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At the turn of the 21st Century, a dynamic and eclectic cinema that had been slowly developing in the East African region gain traction. Yet, the nascent cinematic imaginaries of East Africa have received the least scholarly attention of all the regional cinemas of the African continent. The study explores emergent themes and aesthetics of East African Cinema by locating East African cinema in contemporary African cinema criticism, particularly its indigenous concepts, epistemes and approaches to film analysis. By conceptualising eclectic national cinemas into a complex homogenous entity, I a
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13

明奇英 and Kee-ying Thomas Ming. "An analysis of the filmic: a philosophical grounding for film aesthetics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212578.

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14

Tweed, Hannah Catherine. "Aesthetics of autism? : contemporary representations of autism in literature and film." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/5996/.

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This thesis analyses representations of autism in twentieth and twenty-first century Anglo-American literature and film. It posits that, while many cultural portrayals of autism are more concerned with perpetuating the stereotypes surrounding the condition than with representing autistic experiences, there is evidence of a small but significant counter-current that is responding to and challenging more reductive representational modes. Each of my chapters examines prevailing narrative tropes that reinforce existing stereotypes of disability (narratives of overcoming, victimhood, dependency), w
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Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

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16

Leadbetter, Katharine. "The achievement of female presence on film." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c9239c60-f0a8-41fc-9250-ddea73f9c9c6.

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This thesis examines the different ways films have explored female presence as a narrative and stylistic concern. The role of female presence in the creation of film meaning has often been reductively minimised or altogether neglected within many theoretical approaches to cinema. Depictions of female characters—especially those found in Hollywood films—have been viewed by feminist critics only in terms of the manifestation of sexist ideological principles, whilst more recently, 'affective' film theorists have reduced the role of presence to a simple question of fluctuating physical intensity.
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Todd, Jeffrey M. "Einstein's film theory of montage and architecture." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21653.

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18

Yanick, Anthony Joseph. "Prolegomena to a Theory of Cinematic Bodies: What Can an Image Do?" Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1386619321.

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19

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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20

Hendricks, Jonathan. "Playing-With the World: Toy Story's Aesthetics and Metaphysics of Play." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6709.

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Pixar’s Toy Story (John Lassiter, 1995) is not just a story about toys and the children that play with them, but a demonstration of how we interact with the world. This thesis looks at the way in which both main children, Andy and Sid, interact with their toys and how this interaction is one that is structured by way of what Martin Heidegger calls “Enframing.” In this modality of playing, toys and other things and entities in the world, and the world itself, appear to the children as on-hand resources for use at any time and can be molded, as if plastic, to fit their needs. I problematize this
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Taig, Phillip Barry. "The Musicality of The Sublime: Romantic sensibilities in film music." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24674.

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This thesis gives a cultural and philosophical account of the meaning of music through the analysis of romantic film music as it underscores dramatic, narrative film. The argument is furnished by thinkers and poets of the Romantic revolution in thought, language and sensibility that took place at the end of the eighteenth century and into the first third of the nineteenth century. The main claim is that romantic orchestral music is particularly suited, and has become ubiquitous as a standard, for expressing the darkness of the human heart; exhilarated and awed by the thrills and terrors of the
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Roesch, Matthew. "Les Sensations fortes: The phenomenological aesthetics of the French action film." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499821478202158.

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Virvidaki, Aikaterini. "Testing coherence in narrative film." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:f8be5619-95b9-4810-a46b-2712707f80aa.

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This thesis aims to explore how narrative films that are marked by crucial obscurities and explanatory gaps in their development manage to become coherent. More specifically, the thesis is interested in examining how these obscurities and explanatory gaps can be understood as meaningful aspects of the films' organisation. Since the function of coherence in film has rarely been examined directly, the thesis first attempts to illuminate it by drawing on the work of two aestheticians who have examined it more systematically. Thus, the first part of the thesis discusses the work of Victor F. Perki
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Gavhed, Kristina. "Using the New to get hold of the Old : self-representation, visual representation, and identity creation through new media." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3303.

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My BA-thesis deals with the matter of identity, and how the use of convergent and new media construct a prerequisite for identity construction. In what ways are socio-cultural exchangesvisible within these media? How do convergent and contemporary media help with representation of self and self-expression? I wanted to investigate how online social networks such as Facebook and blogs affect identity and if it changes the conditions under which identity is created. Through denotations and connotations others absorb this information and appropriate it before they in turn share it. I have performe
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Vidal, Belén. "Text/figure/fantasy : from period aesthetics to the literary film in contemporary cinema." Thesis, University of Glasgow, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414036.

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Skopeteas, Ioannis. "Photographic practice and aesthetics in the film image : the case of the Greek feature films in the mid 1990s." Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434289.

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Seijo, Maxximilian. "Anti-Fascist Aesthetics from Weimar to MoMA: Siegfried Kracauer & the Promise of Abstraction for Critical Theory." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7933.

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This thesis re-examines the life's work of German-American critical theorist, Siegfried Kracauer, to recover abstraction from tacit historical associations with modern fascism. Evoked in critical theory more generally, the abstraction-to-fascism-teleology imagines 20th century fascism as the dialectical fulfillment of modern alienation. Rooting such alienation in the flawed Liberal and Marxist conceptions of monetary relations, critical theorists conduct their aesthetic analyses via ambivalent condemnations of abstraction’s assumed primordial alienation. In the thesis, I critique the abstracti
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Xu, Jiacheng 4159187. "Yi, Observational Documentary Aesthetics, and the Identity Politics of Transcultural Migrancy." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4816.

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There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes
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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.<br>This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist
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Payne, Simon. "Materiality and medium-specificity : digital aesthetics in the context of experimental film and video." Thesis, Royal College of Art, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503027.

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This thesis proposes a concept of materiality and medium-specificity that is relevant to the theorisation of digital aesthetics in the context of experimental film and video. Drawing on the example of structural/materialist film, in particular, the thesis presents a critique of several theories associated with new technology, which describe digital media as immaterial and privilege practices that involve virtual reality, immersive environments and cinematic aesthetics. The discussion of a number of key experimental films and videos highlights differences between film, analogue and digital vide
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Warwick, 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/.

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As an increasing body of historical and economic scholarship attests, the processes Marx placed under the heading of 'primitive accumulation', and which he saw as the precondition of capitalism, continue today in a particularly intense form. If Marx's main example in Capital, Volume 1 (1867) was the enclosure of English land from the late fifteenth century, now scholars can point to the expansion of intellectual property rights, the privatisation of water and other public services, the sale of the US national forests, the imposition of 'structural adjustment programmes', and the war in Afghani
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Dickerson, Allyson. "The Accompanied Experience and the Aesthetics of Memory." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1584.

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For me, a memory is the thought of a feeling. Feeling, in this case, is the appreciable radiation of sensory emanating from all objects and persons in a given moment of time. “All thought, like all feeling, is a relationship between one human being and another human being or certain objects which form a part of his universe” (Astruc). Be it an instance of attraction to another person, a place, a creation, an object, or purely an aesthetic pleasure, said instance will become ingrained as a part of an aggregation of moment-to-moment experiences that form an individual’s universe and lifetime of
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Williams, Daniel. "The role of imagination in Bergman, Klein and Sartre." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7448.

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This thesis provides an inter-disciplinary study of selected works by Ingmar Bergman. I explore how key concepts from Melanie Klein and Jean-Paul Sartre apply to the focus on characters in a state of heightened imagination; and the value placed on imagination in the construction of these films. This involves recognition of the way an active response from the viewer is encouraged. Klein, Sartre and Bergman also attend to contextual factors that challenge any notion of subjectivity as sovereign and the power of imagination is frequently placed in a social context. All three figures develop their
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Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.

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This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering
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Morales, Matthew. "Concerning Virtual Reality and Corporealized Media: Exploring Video Game Aesthetics and Phenomenology." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7343.

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Since the birth of the New Hollywood blockbuster out of the Hollywood Renaissance in the 1970s, popular moving image media has continually exhibited an intense interest in play with Newtonian physics and tactile, immediate experience. As the entertainment industry has moved further away from analog and celluloid and deeper into a digital media space, we have begun to see new a new breed of media project that differently engages with our sensorium in order to newly use (and abuse) this interest. I term this digital media project “corporealized media.” Corporealized media, as I define it, refers
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Li, Hongyi. "From Present to Transcendental: Xian Chang Aesthetics in Sixth-Generation Films." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596752736472154.

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37

McDiarmid, Heather E. (Heather Elizabeth). "The aesthetics of death, youth, and the road : the violent road film in popular culture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24093.

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The "roadkill" films are part of a sub-genre of the more popular road film genre. Recently there has been a large number of extremely violent films featuring couples on the run. The reason behind the emergence and popularity of the "roadkill" genre can be understood through an aesthetic analysis. Chapter one examines the aesthetics and affective characteristics of the extreme violence within this sub-genre of film. This chapter refers to the works of Leo Bersani and Ulysse Dutoit, as well as Rene Girard. Chapter two explores the postmodern aesthetic of the roadside iconography by using authors
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Malmquist, Sebastian. "Aesthetics of Defiance : Queer Subjectivity in the Films of Xavier Dolan." Thesis, Stockholms universitet, Filmvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145006.

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This master's thesis is an investigation into Xavier Dolan's depictions of queer and non-normative characters. Through close analyses of the director's first five films, this study identifies Dolan's recurring stylistics and narrative techniques, and how they relate to his cinematic representation of individuals who do not conform to society's norms. The question of how queer subjectivity is presented to the spectator of the films guides the study, which outlines different kinds of subjective images and ways of expressing the inner worlds of the protagonists. As one of the first extensive acad
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Kennedy, Barbara M. "Towards an aesthetics of sensation : a reconsideration of film theory through Deleuzian philosophy and post-feminism." Thesis, Staffordshire University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327506.

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Seidel, Sebastian Martin. "A portfolio of compositions and an investigation into electroacoustic compositional techniques and aesthetics in cinematic film." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/98.

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The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating s
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London, Joseph. "The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2130.

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This creative work and its associated exegesis examines the concept of what I have termed a ‘transcendental structure’ in relation to a documentary film form, and what outcomes, specific to a non-fiction mode of representation, result from the application of this structure. A transcendental structure in film has a long history of investigation and interpretation in narrative fiction film theory and practice, but is substantially absent from documentary scholarship. The topic appears, in different forms, in the critical writings of Zavattini (1940), Bazin (1946), Pasolini (1965), Schrader (1972
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Goritsas, Helen. "Beyond the limits of the auteur: on the possibility of an encounter theory of modern cinema." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9493.

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Despite contention and criticism, auteur theory has significantly influenced screen studies for over half a century and has framed the recurring “brand” or “style” of a director’s personal vision as cinema’s major creative force. Bounded as that theory is within one person’s thoughts and defined in terms of a director’s finite subjectivity what of the auteur’s relation with the world beyond their private selves? As a counterpoint to the exaltation of the cult of the director and in order to restore to film its value as a work, both this thesis and my associated studio practice will engage in
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Lacunza, Mariana A. "“Digital Aesthetics and Notions of Identity in Contemporary Bolivian Filmmaking” “Estéticas digitales y nociones de identidad en el cine boliviano contemporáneo”." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325178598.

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Hexel, Vasco. "Understanding contextual agents and their impact on recent Hollywood film music practice." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/382/.

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Hollywood film composers work within a complex process of film production, with limited control over the final outcome. Certain contextual agents have shaped the developing craft and caused recent Hollywood film music (since 1980) to depart from the symphonic neo-Romantic style that has traditionally and commonly been associated with Hollywood film scores. Developments in storytelling, changing demographics among filmmakers and composers, evolving business models, and the influence of television have altered the content and style of Hollywood films and film music. Furthermore, technological ad
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McDaniel, Kyle. "Aesthetics of Historiophoty: The Uses and Affects of Visual Effects for Photography in the Historical Documentary Film." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20729.

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This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. Th
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Jennings, Danny Roy. "The Aesthetics of Nature and the Cinematic Sublime: A Creative Investigation into an Organic Transcendental Film Style." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/58984.

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The aim of this practice-based screen arts doctoral thesis is to investigate how cinematic representations of nature evoke an aesthetic of the sublime. The thesis answers this research question both through experimental film practice and critical analysis of theoretical and artistic texts. Informed by concepts such as the sublime, transcendence, the metaphysical imagination, critical realism and phenomenology, and the films Werner Herzog and Andrei Tarkovsky, this thesis investigates an organic transcendental film style.
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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 spe
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Clayton, George Wickham. "Bearing witness to a whole bunch of murders : the aesthetics of perspective in the 'Friday the 13th' films." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/bearing-witness-to-a-whole-bunch-of-murders(3b4e4093-9711-49f6-808f-ba55852871bd).html.

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With twelve films released over the last thirty years, the Friday the 13th series has proved a popular mainstay of the slasher sub-genre of horror, in spite of negative critical reception and minimal academic engagement. The academic discourses that do address the series often frame their arguments based on socio-political function, socioeconomic platforms, psychoanalytic traditions, and cultural relevance. While there is some work that attempts to understand the generic positioning and function of the Friday the 13th films, little work has engaged with the film texts in order to understand an
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Wang, Li. "Cultural Representations of the One-child Policy in Chinese Literature and Film since 1978." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20558.

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This dissertation focuses on the cultural representations of the one-child policy ever since 1978. The artistic discourses about the one-child policy provide a fantastic space to explore China’s post-socialist society and contending ideologies. It also sheds light on the intricate relation between aesthetics and politics and these among the state, family and individual. Moreover, as discourses, artistic narratives and images also participate in the redefining of reproduction/one-child policy. Therefore, inquiries into the interaction between aesthetics and politics enrich our understanding of
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Johan, Adil Bin. "Articulating a nation-in-the-making : the cosmopolitan aesthetics of Malay film music from the 1950s to 1960s." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/articulating-a-nationinthemaking(b536d96b-536c-466e-831c-7ce8feb64738).html.

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This thesis provides an in-depth study of the ‘Golden Age of Malay Film’ (1950s to 1960s) by analysing the musical practices and discourses of commercially-produced vernacular Malay films. In exploring the potency of such films and music, it uncovers the relevance of screened music in articulating the complexities and paradoxes of a cosmopolitan Malay identity within the context of mid twentieth-century capitalism, late British colonialism and Malaysian and Singaporean independence. Essentially, I argue that the film music produced during this period articulates a cosmopolitan aesthetic of pos
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