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Brownrigg, Mark. "Film music and film genre." Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.
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This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.
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Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.
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Kang, Kyoung-Lae. "Novel genres or generic novels considering Korean movies adapted from amateur Internet novels /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/96/.
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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika: Across Genres & Disciplines." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3653.
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Camargo, Sandy. "Once more with feeling : film genre and emotional experience /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.
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Wedel, Michael. "Der deutsche Musikfilm : Archäologie eines Genres 1914-1945 /." München : Text + Kritik, 2007. http://catalogue.bnf.fr/ark:/12148/cb41233884c.
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Tateishi, Ramie. "Film genre and the Asian subject /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992385.
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Mason, James Robert. "Disney film genres and adult audiences : a tale of renegotiated relationships." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19239/.
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Disney films occupy a special place in the viewing habits of children, but their relationships with adult audiences are underappreciated and under-researched. At the same time, many assumptions are made about the concept of a Disney film, which is distinctive enough to warrant being described as a film genre but has not yet been described as such. Using an innovative mixed methods approach, this research investigates the ways in which adult audiences negotiate and renegotiate their relationships with Disney films. To do so, the research first sets about identifying what a Disney film is, and therefore defining a Tangible Disney Genre based on an analysis of Disney’s film output. An output survey analysing data based on 390 Disney films released between 1937 and 2015 allows a more comprehensive understanding of the Disney film than has previously been offered. Following analysis of the tangible film output, attention turns to the audiences of Disney films, from fans to antagonists. Building on previous work by the Global Disney Audiences Project (Wasko et al., 2001), the research employs a sample survey and focus groups to define a Disney genre that is grounded in shared audience perceptions. This Fantasy Disney Genre is based on data drawn from over 3,500 participants. Having established the Tangible and Fantasy Disney Genres, the two concepts are compared alongside evidence drawn from interviews and the autoethnographic experiences of the author to determine the effects of any differences and similarities between the genres. Within the comparisons between the two Disney genres is found the space for adult audiences to (re)negotiate their relationships with Disney films. The outcomes of the research include methodological innovations, an updated and comprehensive examination of Disney audiences, and establishment of Disney genres based on both the Hollywood studio’s tangible film output and the perceptions of adult audiences.
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Kork, Yuri. "The influence of film genres on the tourist's decision making process." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14868.
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The principal purpose of this thesis is to investigate the relationships between film genres and the decision-making process of the tourist. Within the tourism industry, the specific type of tourism-Film Tourism-has recently been recognised and approached in several research projects and case-studies. As a result of these efforts, the researchers agree that, in certain conditions, a film may influence the decision of the viewer to travel to the destination that such film portrays. However, due to the recent recognition of this type of tourism and consequent low number of explanatory research in this area, there is an evident lack of understanding about the underlying reasons why films may have such a stimulating effect on tourist decisions. To develop deeper understanding of this newly emerged type of tourism, it is vital to research different elements of the film and their possible effects on tourism-related decisions of the viewer. This pioneering study focuses on the previously neglected “genre” element of the film and the role of this element in the overall influence of the film on the tourist’s decision making process. Accordingly, an extensive survey (n=241) was conducted, implemented via the Internet and to randomly selected Exeter residents. The survey was followed by a series of in-depth semi-structured interviews (n=10) of randomly selected respondents from Exeter. The results suggest that film genres may affect the motivational factors, such as Exciting and Achievement (Yoon and Uysal, 2005). Moreover, emotions are an important factor in the decisions of Film Tourists (Kim, 2012), and films of specific genres may infuse destination with such emotions, alter the destination image and create an interest in the destination. The major contribution of this study is the discovery that the effect of film genres on the Film Tourist is but a small subconscious part of the overall film influence, which encompasses a wider range of elements such as visual beauty, plot, actors, credibility and the atmosphere. Moreover, it would appear that, for most tourists, film is an additional and not a primary factor which creates a wish to travel. The visual portrayal of the destination is the key element which determines whether the film will affect the decision of the viewer to travel, but the genres of the film may allow the prediction of tourist type and possible travel behaviour.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18351/1/Thesis.pdf.
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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18351/.
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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
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Thomas, David Glyndwr. "Extraordinary undercurrents: Australian cinema, genre and the everyday." Thesis, Thomas, David Glyndwr (2006) Extraordinary undercurrents: Australian cinema, genre and the everyday. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/344/.
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'Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday' investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents.
These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity.
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Thomas, David Glyndwr. "Extraordinary undercurrents : Australian cinema, genre and the everyday /." Thomas, David Glyndwr (2006) Extraordinary undercurrents: Australian cinema, genre and the everyday. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/344/.
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'Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday' investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents.
These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity.
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Amâncios, Santos Maria Angelica. "Scénarios littéraires : genres et médias chez Alain Robbe-Grillet et Marguerite Duras." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC073.
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Cette thèse analyse la relation entre la littérature et le cinéma, en particulier le scénario de cinéma, auquel nous tenterons d'accorder une plus grande visibilité au sein de la Littérature Comparée. Il s'agit de démontrer que le scénario est un genre naturellement intermédiatique, étant donné l'évocation, par le texte verbal, du média cinématographique. Il s'agit également d'examiner les expériences d'hybridation et de transgression, notamment dans le mélange entre roman et scénario, en s'appuyant sur l'étude de l'intergénéricité, ce qui devra permettre d'attribuer aux "scénarios littéraires" le statut de genre littéraire. Pour cela, nous étudions l'expérience de l'écriture et de publication de scénarios réalisée par les écrivains-cinéastes Marguerite Duras et Alain Robbe-Grillet à partir de la seconde moitié des années 1950. L'analyse des oeuvres de ces auteurs nous permet aussi de mettre en évidence les références à d 'autres médias tels que la musique et le théâtre et d 'approfondir la réflexion sur le rôle du script dans le dialogue entre la littérature et les arts. Pour soutenir notre recherche nous utilisons plusieurs théories comme celles de Dominique Combe, sur les genres littéraires, Irina Rajewsky, sur l'intermédialité, Alain et Odette Virmaux, sur le ciné-roman. Cette thèse contient, en annexe, un résumé étendu, de 60 pages, rédigé en françaisThis thesis analyzes the text which provides the basis for most cinematic works: the screenplay. My aim is to increase the visibility of this genre in the field of Comparative Literature given the relative lack of attention it has received in literary and film studies. I intend to demonstrate that the script is naturally an intermedial genre, because it promotes numerous "intermedial references" when it uses the filmic language, which anticipates, in the reader's mind, images that he will experience as a spectator - when the movie is screened. Additionally, I intend to examine the possibilities of exchange between the script and various literary forms, such as the poem and the novel, in a dialogue that is not only intermedial but also intergeneric. In order to achieve this aim, I shall focus on the hybridization experiments, particularly of novel and screenplay, made from 1959 to 2002 by the writers and filmmakers Alain Robbe-Grillet and Marguerite Duras. Such works should be highlighted in this study because they present, besides some intergeneric peculiarities, a remarkable diversity in their intermedial references that go beyond the film and also evoke ostensibly the fields of theater, music, and painting. To support our research, we use several theories, such as the ones by Dominique Combe, about literary genres, Irina Rajewsky, on Intermedial Studies, Alain et Odette Virmaux, about the cine-novel
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Sun, Yi. "Producing Hong Kong film genres for global consumption : Milkyway Image, 1996 to the present." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40866/.
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The history of the Hong Kong-based film production company Milkyway Image from its inception in 1996 to present day examplifies the metamorphosis of the contemporary Hong Kong film industry to an era characterised by Hong Kong’s integration into a Chinese national context and the transnationalisation of world cinema. Drawing upon literature that studies film companies, this thesis adopts an integrative research framework that primarily combines industrial and discourse analysis to investigate Milkyway from a range of perspectives. It looks into the company’s ownership and organisational structure and the constitution of its creative team, comparing its similarities and differences to previous Hong Kong film companies and discussing how Milkyway bases itself on contemporary industry and its production models, business experiences and human resources from established studios such as the Shaw Brothers. Secondly, I explore Milkyway’s business and production practices in Hong Kong and mainland China by examining its genre films, including crime thrillers and romantic comedies, illustrating the Hong Kong film industry’s cooperation, negotiation and resistance in the process of Hong Kong cinema’s mainlandisation post-transfer of Hong Kong’s sovereignty from Britain to China. I then examine the discourse regarding Milkyway both inside and outside of Hong Kong, focussing on how the company and its work are received by various players in the film industry and community. The Hong Kong cultural community’s interpretations of Milkyway’s films represent an effort to maintain local cinema’s independence and local culture’s autonomy. International cultural bodies, such as film festivals, distributors and critics, receive Milkyway’s productions against the background of the increased globalisation of cinema and the development of the film industry and film institutions. Milkyway’s image changes as the company’s films travel across contexts and as various cultural forces provide multiple understandings of contemporary Hong Kong cinema. In shaping the discourse about Milkyway and its work, the company plays an active role by taking advantage of transnational platforms, such as film festivals, and interacting with film journalism and academia.
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Oppenheimer, Joshua Lincoln. "Show of force : film, ghosts and genres of historical performance in the Indonesian genocide." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/6253/.
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This thesis is a critical reflection on Vision Machine's North Sumatran film project, articulating a cinema practice that seeks to address a genocide that has barely been investigated. The primary footage comprises extensive interviews, re-enactments and dramatisations of the various practices and procedures that constituted the core of the 1965-66 Indonesian genocide in Sumatra's plantation belt. The participants in these dramatisations and enactments are, for the most part, death squad leaders and members who participated in the killing. This data, comprising over 100 hours of video, constitute revelatory primary research into the history and operation of the Indonesian genocide. This research forms the historical context for the project, and is therefore summarised in the thesis. The reflection on the epistemological, cultural and historical status of these re-enactments constitutes the basis for the core argument of this thesis. To this day, in North Sumatra, the genocidaires remain largely in power. This fact transforms our film project into a unique laboratory for exploring the cultural politics of film, media and history within a context of victory and impunity. Specifically, the project examines the ways in which historical narrative - inevitably told by victors - becomes an instrument of terror within a spectral economy of terror. This project is both an intervention into this economy, as well as an analysis of its mechanisms and protocols. As such, the thesis comprises both completed films, extracts from works-in-progress and this writing, and lies at the intersection of the disparate fields of cinema studies, Indonesian area studies, trauma studies and film practice. This thesis proposes a theory of performativity, spectrality and genres of historical performance; specifically, it is argues that spectres are performatively conjured as the obscene to any symbolic performance - including both historical acts as well as their rehearsal and restaging in re-enactment, testimony, or dramatisation; such spectres constitute a power that may be claimed by the performer. This power interacts with actual structures of power, as well as processes that seek to record, circulate or excavate such historical performances, including our filmmaking process. In the case of this film project, perpetrators are lured by the apparatus of filmmaking into naming names and revealing routines of mass murder hitherto obscene to official histories, and they do so through dramatisations and re-enactments manifestly conditioned by the codes of film and television genres. This latter point reveals the complex ways in which remembrance is always already well-rehearsed, scripted and generic. Thus does the research excavate (by catalysing) perpetrators' performative use of film genres to conjure as a spectral force that which must remain obscene to the codes of genre. And thus does the research excavate (by miming) the way genre fashions historical narratives into instruments of terror. As perpetrators of the genocide name names and reveal secrets, the process by which they seek to claim and manifest their spectral power is short-circuited by the filmmaking process, which condenses a miasmic spectral into specific ghosts. By shorting one circuit, the filmmaking closes another through which the process of remembrance, working through and redemption may begin for survivors. From this emerges an understanding of both the filmmaking process and its products (i.e., the completed films) as filmic interventions into a spectral economy of terror. This thesis describes a film practice that is necessarily a social practice, at once producing works and doing work. Building on models of collective filmmaking developed by Jean Rouch and George Stoney, we incorporate experimental production techniques including spirit possession, re-narration, infiltration, and genre-based fiction filmmaking in order to define a new model for film production that the author has termed "archaeological performance". Moving beyond the interview-based approaches of Lanzmann and Ophüls, archaeological performance suggests a hybrid and interventionist form of cinema adequate to addressing a history whose very incoherence has served as an instrument of terror.
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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 fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.
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Bonotto, André 1985. "Documentário e cinema da asserção pressuposta segundo Noël Carroll." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285270.
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Orientador: Francisco Elinaldo TeixeiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T21:14:26Z (GMT). No. of bitstreams: 1 Bonotto_Andre_D.pdf: 1848375 bytes, checksum: 9e343d28c56e7da9003abd8e3b754128 (MD5) Previous issue date: 2014
Resumo: Este trabalho analisa o pensamento do filósofo analítico Noël Carroll a respeito do cinema documentário. Sua abordagem sobre o documentário envolve os temas da objetividade, de intenções autorais, da indexação das obras e da dimensão do traço histórico das imagens. O ponto principal deste pensamento localiza-se em sua teoria do cinema da asserção pressuposta, o que constitui sua definição conceitual para este gênero fílmico. Apresentamos, de início, a formação filosófica e cinematográfica deste autor, ressaltando a posição que ele ocupa no campo dos estudos de cinema e as características do método da filosofia analítica, que ele adota. Examinamos, a seguir, os textos onde Carroll apresenta seu pensamento sobre o documentário, discutindo detalhadamente os elementos presentes em sua teorização. Após isso, problematizamos alguns pontos de sua teoria, como o conceito de asserção, a relação entre as posturas mentais ficcional versus assertiva, e o papel do significado. Apontamos, por fim, relações entre o projeto teórico de Noël Carroll e outras abordagens no campo de estudos do cinema documentário
Abstract: This thesis analyzes the thought of the analytic philosopher Noël Carroll on documentary film. His approach to documentary involves issues of objectivity, authorial intentions, indexing works, and of the historical trace of images. The core of this author's thought lies in the theory of films of presumptive assertion, that which constitutes his conceptual definition for this filmic genre. It is presented, at first, the philosophical and filmic training of this author, with consideration towards the position he occupies in the field of film studies, and towards the method of analytic philosophy he adopts. Works where Carroll presents his thoughts on documentary are, then, examined, with detailed discussion on the elements that compose his theorizing. After that, some points of his theory are problematized, as the concept of assertion, the relation between fictive and assertoric stances, and the role of meaning. Finally, some comments are made about Noël Carroll's theoretical enterprise in relation to the broader field of documentary film theory
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Groleau, Catherine. "Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67160.
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Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques.The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
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Canepa, Laura Loguercio. "Medo de que? : uma historia do horror nos filmes brasileiros." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285159.
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Orientador: Nuno Cesar Pereira de AbreuTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T16:44:22Z (GMT). No. of bitstreams: 1 Canepa_LauraLoguercio_D.pdf: 62092455 bytes, checksum: aeaa4fb7ba2110dbe657a81456b35c36 (MD5) Previous issue date: 2008
Resumo: Neste trabalho, examinam-se as manifestações do gênero horror nos longas-metragens sonoros brasileiros realizados entre 1937 e 2007, elaborando-se um panorama histórico desses filmes, desde os primeiros registros cinematográficos deste gênero de ficção no cinema nacional até os mais recentes, e propondo-se um modelo descritivo para as configurações do horror ficcional no cinema brasileiro. Para isso, partiu-se dos estudos de gêneros cinematográficos, de história do cinema mundial e de história do cinema brasileiro, procurando-se desenvolver ferramentas de análise que permitam elaborar um panorama dos filmes, e explorando-se a possibilidade de falar-se de estilos especificamente brasileiros para o tratamento cinematográfico do horror
Abstract: This thesis examines the manifestations of the horror genre in Brazilian movies made between 1937 and 2007, under a historical outlook, since the first cinematographic registries of this genre, to the later ones. The theoretical approach of this work starts from genre cinematographic studies, passes over cinema¿s history and Brazilian cinema¿s history, looking out for the development of analytical tools which allow elaborating an overview of the films, exploring the possibility of marking a specific Brazilian brand of horror films and a specific Brazilian approach on making horror films
Doutorado
Doutor em Multimeios
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Schembri, Peter Mark. "The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.
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In 1977, Star Wars opened in the United States to become a multimillion dollar blockbuster. Star Wars heralded the arrival of the recombinant science fiction-fantasy film. By the end of the 1980s, recombinant science fiction-fantasy films were the top grossing Hollywood manufactured films of the decade, with E.T., The Extra-Terrestrial (1982) becoming the highest grossing film
in Hollywood's history. The use of genre by the Hollywood film industry during the 1980s ensured the continued popularity, and therefore financial success as measured by box-office receipts, of Hollywood recombinant science fiction films. This thesis argues that the Hollywood film industry during the 1980s, used genre as it operated through the Hollywood standard, to regulate and control the interrelationship between: the economic structures and practices of the Hollywood film industry;
the content of recombinant science fiction genre films and generic cycles as expressed in Hollywood manufactured film texts; and the consumption by American audiences of these texts. The Hollywood standard is essentially a standardized industrial process. The standardized production/manufacturing conventions of the 1980s Hollywood standard, informed the manufacture of
science fiction film commodities by studio executives and contracted creative personnel. The Hollywood standard also influenced the science fiction genre's product/content conventions and formulas. Although the science fiction genre was successfully recombined with the fantasy genre, each genre had its own content
conventions and formulas. The manufacture, promotion, distribution, and exhibition of Hollywood manufactured recombinant science fiction films entailed
relationships between a complex network of organizations. This thesis details four functions, each a stage of an industrial process operating in a consumer-orientated market economy. All four functions were present in the 1980s Hollywood film industry system: manufacture or creation; entrepreneurship and patronage; promotion and marketing; and consumption. These functions transformed
a science fiction film from a conception to a commercial
commodity. The Hollywood film industry used genre in an attempt to regulate and control each stage of the Hollywood film industry system. 1980s recombinant science fiction films, as commercial
commodities manufactured through an industrial process, were cultural
products subject to the supply and demand pressures of the American marketplace. The theoretical approach upon which this thesis is based is a synthesis of a number of social science perspectives. Each chapter of this thesis corresponds to a stage of the industrial process.
The basic process of communication model is combined with
semiotics in the performance model. The performance model acknowledges that the content of film texts are determined by studio executives and creative personnel who manufactured texts according to the Hollywood standard. During the 1980s, Hollywood film manufacturers were unable to predict, or predicted only to a limited extent, what manufactured genre film commodities would be successful in the marketplace. As a coping strategy, Hollywood film studios engaged in overproduction. Once the film commodity was selected for release in the American marketplace, it was subject to differential promotion, with greater financial resources being allocated to expensive science fiction films that were likely to be potential blockbusters. But every recombinant science fiction film was promoted. As a marketing strategy, genre recombinations could be used to develop a unique brand image for each manufactured film commodity so that it could be targeted at different segments of a mass market.
A mass audience of American consumers in the 1980s were aggregates of unique individuals and groups of active consumers, making informed and conscious decisions in the marketplace. When individuals paid to see a recombinant science fiction film, they expected to obtain meanings and pleasure from it. Consumers often used genre as an important strategy to gather initial information about a film prior to viewing, and genre was often
used as an strategy for evaluating the film after viewing. Using the concept of cultural forum, this thesis argues that Hollywood manufactured recombinant science fiction film texts 'commented' on ideological conflicts. Individuals and groups were capable of creating opposition readings, and could engage the Hollywood film industry at the level of personal actions; individuals were not being ideologically manipulated. It was upon consumer demand and expectations that the Hollywood film industry system during the 1980s was based. Since consumers in the 1980s were notoriously fickle in their selection of films, the Hollywood film industry used genre in an attempt to direct audience reception of film commodities in the marketplace.
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Hachtel, 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.
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DI, CHIARA Francesco. "I generi della Titanus: modi di produzione, attrazioni e passioni nella commedia e nel melodramma (1949-1963)." Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389344.
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Titanus is the longest-living production company in the Italian cinematic panorama. Its more
interesting phase dates back to the early 1950s, when Goffredo Lombardo replaced his father
Gustavo at the helm of the company. Then Titanus, which was the biggest Italian studio both in
terms of industrial facilities and in regard to the width of its film distribution circuit, managed to
construct a solid company identity especially through genre films such as melodramas and film
comedies, until in 1964 a financial crisis forced it to shut down its productive branch. The aim of my thesis is to outline the company’s profile, by the means of the modes of production theories and
of the film genre theories which emerged in the United States in the late 1990s. This theoretical
framework was modeled after the Hollywood context, yet I maintain it is suitable also to describe a
great Italian company such as Titanus, which in turn was in many ways looking to emulate the
American studios model. Moreover, in order to perform my research, I examined the Fondo Titanus
preserved in the film archive Cineteca del Comune di Bologna, and also the original production
plans of some of the Titanus movies, which are preserved in the Archivio Centrale dello Stato in
Rome. After having examined the company profile and its means of production in the first part of
the thesis, in the second and in the third one – devoted respectively to the Titanus melodrama and
film comedy – I closely analyzed about thirty out of the 120 films produced by Titanus, focusing
mostly on the use of what Tom Gunning calls the “cinematic attractions” and the movies pathemic
devices, which I examined referring to the greimasian semiotics of passions. I was therefore able to
outline the Titanus productive strategies, and also to study how it modeled its company identity
through its staple genres.
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Molia, François-Xavier. "Un cinéma de la destruction : approches esthétique, historique et industrielle du film-catastrophe hollywoodien." Paris 10, 2007. http://www.theses.fr/2007PA100087.
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Apparue dans les années 1970, l’expression disaster movie désigne d’abord un cycle de fictions hollywoodiennes, comme L’Aventure du Poséidon, 747 en Péril ou La Tour Infernale, qui racontent les aventures de personnages confrontés à un désastre ou sa menace : crash aérien, incendie, naufrage, tremblement de terre. Dans les années 1990, un second cycle de films-catastrophe se constitue, dont le succès culmine avec le Titanic de James Cameron. Inspirée par les travaux de Rick Altman, notre étude cherche à cerner l’identité synchronique du genre, puis à faire son histoire. Les films-catastrophe prolongent, en les reconfigurant, plusieurs traditions hollywoodiennes : le spectacle de la destruction, le mode mélodramatique et l’exhibition du corps performant. Dans ces fictions de la communauté en crise, le récit thérapeutique de la catastrophe donne lieu à une surenchère spectaculaire où s’exprime la logique de puissance d’un nouveau «cinéma des attractions»First coined in the 1970s, the term disaster movie was primarily used to refer to a cycle of Hollywood fictions such as The Poseidon Adventure, Airport 1975 or The Towering Inferno, that recount the adventures of characters who are faced with a catastrophe, or the threat of one : plane accident, fire, shipwreck, or earthquake. A new cycle of disaster movies then developed in the 1990s, culminating with the unprecedented success of James Cameron’s Titanic. Inspired by Rick Altman’s work, our study sets out to detail the synchronic identity of the genre, before charting its history. Disaster movies prove to be a continuation, and at the same time a reorganization, of several Hollywood traditions : spectacles of destruction, melodramatic mode and exhibitions of the performing body. These are fictions about communities in crisis, in which the therapeutic disaster narrative is conducive to an escalation of spectacle, thus allowing a new « cinema of attractions » to demonstrate its power
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Banerjea, Koushik. "Criminally hip : a critical exploration into issues of masculinity, violence and transnational modernity within the spaghetti western and gangster film genres." Thesis, London South Bank University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506698.
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My research explores the contingency of key discourses of masculinity, race and violence as they are filtered through particular film genres in which it is the very masculinist dimension of their cultural narratives which is emphasized. To that end the two genres which I focus upon are the 'spaghetti' western and the 'gangster' film. I explore the formative role of cultural production in the circulation and critique of masculinist, or in the case of the screen 'outlaw' or 'gangster', hypermasculinist discourses, particularly as they intersect with issues of racial or ethnic difference. This in tum raises important questions about the transnational component of the urban political economy which is the favoured stomping ground of both the screen, and reallife, gangster. Subsequently the research tests the notion of a global register against which the iconographic figure of the male outlaw is constructed and the implications of this for broader cultural mythologies of race, nation and frontier, for instance as a prototypical narrative of American, English or Indian modernity. My argument is that film, as a culturally promiscuous yet tactical resource, is both the instance and the critique of 'the public enemy' or of the violence of our own self-constitution. It (film) produces and sustains the media gangster as a solipsistic medium through which burgeoning, and increasingly violent, neuroses about the role of masculinity are filtered. By engaging the psychotic underbelly of both visual culture and the foundational myths it indexes, my research synthesises otherwise discrete anxieties around race, desire and violence. It makes the case for how the outsider art of gangster films or spaghetti westerns recalibrates the level of violence we are prepared to live with. It ultimately reveals how it is outlaws in the guise of a domestic citizenry who convert life into myth and image by projecting society's fears back to it as style. Weare the frontier and psychosis is our signature.
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Thomas, Katharine Rosemary Clifton. "Bombay before Bollywood : the history and significance of fantasy and stunt film genres in Bombay cinema of the pre-Bollywood era." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q154z/bombay-before-bollywood-the-history-and-significance-of-fantasy-and-stunt-film-genres-in-bombay-cinema-of-the-pre-bollywood-era.
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This PhD by Published Work comprises nine essays and a 10,000-word commentary. Eight of these essays were published (or republished) as chapters within my monograph Bombay Before Bollywood: Film City Fantasies, which aimed to outline the contours of an alternative history of twentieth-century Bombay cinema. The ninth, which complements these, was published in an annual reader. This project eschews the conventional focus on India’s more respectable genres, the so-called ‘socials’ and ‘mythologicals’, and foregrounds instead the ‘magic and fighting films’ – the fantasy and stunt genres – of the B- and C-circuits in the decades before and immediately after India’s independence. Drawing on an extensive body of my own field research that has spanned more than three decades, the essays also indicate how the visceral attractions of these fantastical B- and C-circuit films migrated into Bombay’s mainstream A-circuit cinema of the 1970s and 1980s. The project draws on and analyses a variety of archival traces – from silent film fragments, shooting scripts, newspaper advertisements, memoirs, posters and publicity stills to full-length movies, gossip and my own ethnographic field-notes from the 1980s and early 1990s. The project’s central argument is that the B- and C-circuit ‘magic and fighting’ films were more significant than has previously been recognised: (i) they influenced the development of film form in India throughout the decades, and especially in the 1970s/80s ‘masala’ era; (ii) they engaged with modernity just as much as – but in different ways from – the A-grade socials in the pre- and early post-independence era. I conclude that alongside nationalist orthodoxies, this significant stream of Bombay cinema has always revelled in cultural hybridity, borrowing voraciously from global popular culture and engaging with transcultural flows of cosmopolitan modernity and postmodernity.
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Sorin, Cécile. "Assimilation du cinéma de genre hollywoodien en France et en Italie après 1945 : étude appliquée au western et au film noir." Paris 8, 2001. http://www.theses.fr/2001PA081883.
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@Ce travail porte sur des films français et italiens réalisés entre la fin de la seconde guerre mondiale et le début des années 70 et entretenant une relation effective avec le western et le film noir hollywoodiens. Dans ce contexte, l'assimilation désigne la façon dont un auteur fait sienne l'oeuvre d'autrui. C'est un ensemble de processus de transformations et d'imitations qui conduisent à une production nouvelle et originale. L'assimilation couvre un ensemble de pratiques artistiques très variées : la parodie et le pastiche en sont les formes les plus apparentes dans la mesure où elles sont constituées de références explicites. L'étude critique de l'hypertextualité permet une approche adaptée à l'assimilation des genres cinématographiques. Cette méthodologie est appliquée au corpus. L'analyse comparée des films français et italiens permet d'établir les caractéristiques et les fonctionnements de ces phénomènes d'assimilation que sont, d'une part, le western français et italien et, d'autre part, le film policier noir français et italien. . .
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Ponce, de León Diaz Allison Andrea, and Chocña Raul Antonio Espinoza. "Las preferencias en torno al doblaje y la subtitulación de géneros de cine entre estudiantes universitarios de Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652532.
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El doblaje y la subtitulación son las dos modalidades de traducción audiovisual (TAV) más practicadas en la actualidad que permiten al público tener acceso a películas extranjeras en su lengua materna. Y Perú no es ajeno a esta realidad. Sin embargo, los estudios en el campo del doblaje y la subtitulación orientados a las preferencias del público por una u otra modalidad son escasos en Latinoamérica y, en particular, en Perú. Para subsanar este vacío, el presente estudio cuantitativo busca dar a conocer cuáles son las preferencias de los estudiantes universitarios en torno al doblaje y a la subtitulación de géneros de cine, así como las opiniones sobre cada una de estas modalidades. Se empleó una metodología cuantitativa por medio de un muestreo de tipo intencional que incluyó la aplicación de 200 encuestas a estudiantes de dos universidades (una privada y una pública) de Lima, Perú, y su posterior análisis. Los resultados mostraron que hay una mayor preferencia por la subtitulación y que los géneros que mejor se adecúan a esta modalidad son el drama, el romance y la ciencia ficción. Por otro lado, el género animado es el más adecuado para ser doblado según los encuestados. Asimismo, a partir de las diversas opiniones en torno a la TAV, se puede inferir que existe cierto desconocimiento por parte de los encuestados en cuanto a los procesos y la naturaleza de este tipo de traducción.At present, dubbing and subtitling are the two most practiced modes of audiovisual translation (AVT), which allow the public to watch foreign movies in their mother tongue. Peru is not alien to that reality. Nevertheless, there are very few studies in Latin America, and more specifically in Peru, focusing on the public preferences for one mode of AVT or the other. In this sense, this quantitative study seeks to know the preferences of university students in regards to dubbing and subtitling of film genres, as well as the opinions about any of these modes. This study employed a quantitative methodology (surveys) with a purposive sample of 200 students from two universities in Lima, Peru (one private and one public). The results showed that there is a greater preference for subtitling and the genres that best suit this mode are drama, romance, and science fiction. As for dubbing, animation is the genre most suitable to be dubbed according to respondents. In addition, considering our respondents’ opinions about AVT, we can infer that their knowledge of the processes and nature of AVT is very limited.
Tesis
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Le, Pallec Marand Claudine. "Réflexivité et anti-érotisme du film sexuel en France (1972-1976) : des auteur(e)s-cinéastes face au genre porno et au mouvement féministe." Paris 8, 2011. http://www.theses.fr/2011PA084115.
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Sans que leurs différents (co-)auteur(e)s-réalisateurs/réalisatrices se soient concertés et sans qu’aucun parmi ces derniers ne revendique un genre de film déjà existant, La Maman et la Putain (1973, Jean Eustache), Je tu il elle (1974, Chantal Akerman), Numéro Deux (1975, Jean-Luc Godard et Anne-Marie Miéville), La Dernière Femme (1976, Marco Ferreri), Anatomie d'un rapport (1976, Luc Moullet et Antonietta Pizzorno) et Une vraie jeune fille (1976, Catherine Breillat) sont six films tournés en langue française (langue du tournage) entre 1972 et 1976 qui possèdent des caractéristiques esthétiques communes. La valorisation de l'inspiration pornographique, une bande son sans cris et sans musique où les échanges dialogués dominent, l'intégration esthétique du mouvement féministe et le refus manifeste de l'érotisme cinématographique (et du sentiment de concupiscence sensé être produit par la représentation de la sexualité) permettent de réunir ces six films sous le terme de « film sexuel ». Cette expression reprend le néologisme proposé par Luc Moullet en 1969 pour distinguer une nouvelle représentation de la sexualité. La thèse porte sur une décennie peu étudiée du cinéma français, les années 1970, à un moment où l'explosion de la production pornographique, les propos des cinéastes sur l'engagement que constitue pour l'auteur(e)-réalisateur/réalisatrice (-acteur/actrice) la représentation de la sexualité et la poétique de chacun des six films complexifient comme rarement auparavant les catégories usuelles de la pornographie et de l’érotisme dans leurs rapports au domaine cinématographiqueDespite a total lack of concertation between their various creators and without discussion of an existing genre, La Maman et la Putain (1973, Jean Eustache), Je tu il elle (1974, Chantal Akerman), Numéro Deux (1975, Jean-Luc Godard et Anne-Marie Miéville), La Dernière Femme (1976, Marco Ferreri), Anatomie d'un rapport (1976, Luc Moullet et Antonietta Pizzorno) et Une vraie jeune fille (1976, Catherine Breillat) are six french language films shot between 1972 and 1976 using a common set of esthetic characteristics. The valorisation of their pornographic inspirations, a dialogue laden sound track devoid of screaming and music, the esthetic integration of the feminist movement and the patent refusal of eroticism (along with the feeling of lust intended to be derived from the representation of sexuality) allow these six films to be termed « sexual films». This neologism was first used by Luc Mullet in 1969 to define a new way of representing sexuality. The thesis focuses on a much maligned decade in French cinema, the 1970’s, at a time when the explosion of pornographic production, the notions of the representation of sexuality propagated by the film makers (writers/directors/actors) and the poetry of each of the six films add a level of complexity rarely witnessed within traditional representations of sexuality (pornography and eroticism) prior to this point
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Colombo, Ambrose. "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/83.
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Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.
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Li, Yuanyuan. "Entre tradition et modernité : le mélodrame chinois durant la période républicaine." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010616/document.
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Si de nombreuses études occidentales portent sur le cinéma chinois contemporain, les écrits occidentaux consacrés aux films de la première moitié du 20t: siècle sont presque inexistants. Cette recherche propose une réflexion sur un champ d'étude méconnue en France qu'est le mélodrame cinématographique chinois durant la période républicaine (1911-1949). Elle envisage une réévaluation sur les films souvent qualifiés de « réalistes» et de « révolutionnaires ». Les œuvres mélodramatiques chinoises possèdent de multiples facettes: son style stéréotypé (la victime, le traître, le misérabilisme et le manichéisme), sa nature hybride (influence occidentale et héritage chinois), et ses messages contradictoires (conservateurs pour certains, révolutionnaires pour d'autres). En dépit de son caractère propagandiste, le mélodrame apparaît comme étant l'un des genres les plus appréciés par le peuple chinois et les intellectuelsMany western film scholars have strong interest to the Chinese contemporary movie, but, rarely they devotes to the films of the first half of the 20s century. This study proposes a reflection on a field of study that is the Chinese film melodrama during the Republican period (1911-1949), a field of study which is utterly neglected in France. It envisages a revaluation on the movies often called "realist" and "revolutionary". Chinese melodramatic films possess multiple faces: its stereotyped style (the victim, the traitor, the miserabilism and the Manichaeism), its hybrid nature (Chinese heritage and western influences), and contradictory messages (conservative for some people, revolutionaries for others). Despite its propagandistic character, melodrama is considered as one of the most popular gender by both the Chinese people and intellectuals
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Hauser, Brian Russell. "Haunted Detectives: The Mysteries of American Trauma." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.
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Selbo, Jule Britt. "The constructive use of film genre for the screenwriter : creating film genre's mental space." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3501.
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This practice-led PhD project consists of two sections: the first examines a breakdown of the components of film genre to be used as practical guideposts for my own creative practice as a screenwriter and (hopefully in the future) for other screenwriters; the second section contains my practical application – first acts of three screenplays that are constructed utilizing my research and subsequent assessments. Using a theoretic construct presented in the area of philosophy in the 1990s by cognitive theorist Gilles Fauconnier called ‘mental space’, a concept exploring a person’s natural inclination to construct a comprehensible idealized cognitive model (ICM) of any given situation in order to understand his or her role in it (Fauconnier 1994:8), I examine how Fauconnier’s concept can be applied to building a film narrative and specifically how it can be applied to a screenwriter’s understanding and breaking down of the components of film genre. I also employ the work of scholars focused on the audience’s reception, especially the reception of film genre. In the practical section of my practice-led PhD, the writing of the first acts of three screenplays that share location, similar core cast of characters and plot points but are constructed in three distinctly different film genres (western, horror, romantic comedy), I endeavor to apply elements I have termed the ‘mental space of film genre’ in order to determine the adjustments and changes necessary to move narrative from one genre to another in order to fulfill various genre perimeters and genre expectations. This work is meant to increase a screenwriter’s technical skills in the craft of screenwriting.
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Paszkiewicz, Katarzyna. "Gender y genre en las cineastas estadounidenses a principios del siglo XXI." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283168.
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Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn Kusama y escrita por Diablo Cody, el western Meek’s Cutoff (2010), dirigido por Kelly Reichardt, y el filme de guerra The Hurt Locker (2008), dirigido por Kathryn Bigelow. Tomando como punto de partida la conceptualización del género cinematográfico como un proceso, y a la vez un repertorio o una constelación de materiales culturales, estéticos e ideológicos, el objetivo es reflexionar sobre cómo las cineastas citadas emplean los formatos genéricos para entablar un diálogo con las formas pasadas, y al mismo tiempo contribuir a rehacer y permutar los imaginarios sociales, en particular en cuanto a la representación del género sexual.
La tesis pretende contextualizar la obra de las cineastas estudiadas, ofreciendo un detallado examen no solo de sus películas, sino también de sus figuras públicas, que se prestan a consideraciones sobre una serie de cuestiones que nos parecen cruciales para repensar y problematizar la noción de “cine de mujeres”: la división entre los géneros “masculinos” y “femeninos”, la creciente importancia y visibilidad de la figura autorial de las cineastas, la disolución de los lindes entre el cine comercial y el cine independiente, el contexto de la llamada cultura mediática posfeminista y la cuestión del placer fílmico de las espectadoras. Uno de los objetivos principales es desestabilizar la distinción entre cultura femenina y masculina, así como revaluar ciertos géneros como espacios discursivos válidos para los análisis feministas –abiertos a posibilidades de reinscripción estética, narrativa e ideológica– y de esta manera ofrecer un replanteamiento crítico de la deslegitimación o del olvido habitual de ciertos géneros cinematográficos en contextos particulares. En términos generales, esta tesis se propone examinar con qué tipo de obstáculos y limitaciones se enfrentan las cineastas, sea por su género sexual, sea por el género cinematográfico en el cual eligen trabajar, pero también cómo traspasan o desestabilizan estas fronteras, forzándonos a rediseñar nuestras propias herramientas metodológicas, conceptos y entramados teóricos a partir de los cuales repensar la vigencia del “cine de mujeres” como clave hermenéutica.
La tesis se estructura en cinco secciones: un capítulo que incluye el marco teórico, un capítulo dedicado al estudio comparativo y extratextual de la recepción y de la construcción de la figura autorial de las cineastas abordadas en esta investigación, y tres capítulos que contienen análisis detallados de tres géneros fílmicos: cine de terror, western y cine bélico. La intención no ha sido ofrecer una visión panorámica del cine de mujeres estadounidenses en el momento actual, ni trazar la evolución de las respectivas cineastas o tradiciones fílmicas en el sentido más amplio, sino más bien ofrecer una aproximación transversal y sincrónica, que permita destacar los principales problemas que surgen en la intersección del género cinematográfico, la autoría fílmica de mujeres y el género sexual.While a considerable amount of research has been done on so-called “avant-garde” or “oppositional” female filmmakers, women who make films by drawing on popular forms have still to be given sufficient critical attention, in film studies in general, and in feminist film studies in particular. The objective behind this thesis is to address a selection of works of contemporary American filmmakers which have been perceived in the critical discourses as genre films: Jennifer’s Body (2009) as a horror film, directed by Karyn Kusama and written by Diablo Cody, Meek’s Cutoff (2010) as a western, directed by Kelly Reichardt, and The Hurt Locker (2008) as a war film, directed by Kathryn Bigelow. In particular –and taking as a starting point the conceptualization of genre as a process, a repertoire or a constellation of cultural, aesthetic and ideological materials– the aim is to reflect on how these filmmakers use the genericity of filmic storytelling to engage purposefully with past forms, at the same time as contributing to remaking and shifting social imaginaries, especially in terms of gender representation. This thesis seeks to put women filmmakers in context, offering a close examination not only of their films, but also of their public figures, which raise a number of intriguing questions that are crucial to rethinking and problematizing the notion of “women’s cinema”: the distinction between “male” and “female” genres, the growing importance and visibility of authorial images of female filmmakers, the blurring borders between commercial and independent cinema, the context of the so-called postfeminist media culture, and the consideration of female spectatorial pleasures. This thesis neither attempts to offer a panoramic vision of contemporary women’s cinema, nor to trace the evolution of respective filmmakers and filmic traditions in the wider sense, but rather to present a transversal and synchronic approach, one that underlines the principal obstacles that arise at the intersection of film genres, female film authorship, and gender.
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Mädler, Kathrin. "Broken Men : sentimentale Melodramen der Männlichkeit - Krisen von Gender und Genre im zeitgenössischen Hollywood-Film /." Marburg : Schüren, 2008. http://www.schueren-verlag.de/?aid=1969.
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Gates, Philippa Charlotte. "Investigating the male : masculinity and the Hollywood detective film." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391838.
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Weinhold, Florian. "Self/other representations in Aleksei Balabanov's 'Zeitgeist movies' : film genre, genre film and intertextuality." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/selfother-representations-in-aleksei-balabanovs-zeitgeist-movies-film-genre-genre-film-and-intertextuality(29460f94-0440-431c-8d59-53133c73489f).html.
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This thesis uses the prism of genre to explore the character of self/other representations in five 'genre films' made by the Russian filmmaker Aleksei Balabanov and released between 1997 and 2006. It provides the first book-length study of Balabanov and aims to shed new light on the complexity of genre films and their representation techniques in an influential area of post-Soviet Russian cinema. The thesis aims to deconstruct the widespread perception of Balabanov as a populist director of 'mere genre movies', which are replete with xenophobic self/other representations. The films under investigation are linked through their developments of genre, evolving themes, an overarching narrative and multiple dialogicity among themselves, with their audiences and with Hollywood. They are shown to reflect the changing post-Soviet Russian Zeitgeist and its historical context. They do so by self-consciously deploying Hollywood genres and blending them with transgeneric modes/styles under the influence of renowned cinematic and literary inter-/transtextual works. The study examines the relationship between Balabanov's articulation of post-Soviet Russian identity vis-à-vis representations of dominant others, such as America, the Caucasus, Western Europe, Ukraine and, importantly, what the films portray as society's ruling criminal elites (primarily the New Russian 'gangsters').Combining the concepts of film genre with inter-/transtextuality within close film-textual analyses, the thesis focuses on the filmic texts and their visual, sound and narrative elements, which together indicate particular genre blends and their parabolic/allegorical potential. The analytical chapters investigate how these impinge upon the ideological orientation of Balabanov's approach to self/other representations. Film genre thus provides a method for exploring the articulations of an evolving post-Soviet Russian identity in Balabanov's work. The thesis reveals the director's self-consciously ambiguous perspectives on Russia's self, its own otherness in a globalised/ing world and the corrupting influences of the country's state-Socialist militarist past, previous and current military conflicts and the country's capitulation to the capitalist market. The application of a conceptual framework drawn from film genre studies enables the thesis to explore how these popular genre films become a platform for presentations of an internally divided Russian national self in its interactions with its various constitutive others, themselves characterised by diversity and inner heterogeneity. As a result, the thesis provides a long-overdue methodological interpretation of the most controversial segment of Balabanov's oeuvre and challenges received bi-partite views of this hitherto largely misrepresented auteur.
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Atterstig, Elin. "Att höra genre : Vad ljudet i filmens inledning berättar om genre." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.
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This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.
The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.
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Topp, Sydney Fisher. "The Gender Differences in Subjectivity among Superbeing Characters in the Comic Book Film Genre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/87472.
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This study intends to evaluate the extent to which gender inequality permeates representation in the media. By drawing on the literature of feminist phenomenology I define subjectivity as the tendency of characters to interact with the world around them rather than merely have that world act upon them. I use the themes of sexual spectacle, motivation, and violence and protection to evaluate the gender differences among superbeing characters from the DC and Marvel franchises. Through the use of a qualitative content analysis this study has shown that the dichotomous gender hierarchy actively subordinates female superbeing characters through their diminished subjectivity. A character�s ability to act upon the world through act-break motivations, direct capacity for violence, and the protection of others defines them as subjects. Conversely, a character�s inability to do those actions as well as their instances of sexual spectacle and unmotivated sexual displays in costuming and gender performance relegates them to the role of object. The subjectivity score is used to more clearly show a definitive ranking of these characters. Female superbeing characters often hold negative scores. This means that their total deductions from categories that diminish their subjectivity, such as instances of sexual spectacle or revealing costumes, outweigh any points they earn from categories that award them more subjectivity, such as protection/rescuing others. The male characters hold double or triple the scores of their female counterparts, which perfectly highlights the gendered division of the attributes that inform subjectivity. By allowing superbeing characters to transcend gender dichotomy and engage with the full human spectrum of emotion and wellbeing, we could celebrate people as fully human and disrupt the gender normativity that maintains inequality.Master of Science
Marvel and DC Comics are two of the most popular comic book companies in the US. They are responsible or the creation of well-known characters such as Superman and Iron Man. Within the last few decades the comics because popular film franchises. Both companies release several films every year from their respective cinematic universes. These are highly grossing movies and popular enough to have character costumes produced for purchase. Popular cultural phenomenon such as these film franchises provides an opportunity to study social topics such as gender inequality and heteronormativity. This study focuses on the on-screen depictions of these superbeing characters in order to establish a connection between gender and subjectivity in these super-human bodies. Subjectivity, defined by Iris Marion Young’s conceptualization of a feminist phenomenology uses the themes of motivated action, violence and protection, and sexual spectacle to determine if there is a gendered difference in the ways these characters are able to be super and how that impacts their overall subjectivity level. The data supports the theory that male superbeing character are allowed to be full subjects who are able to act upon the world while female superbeing characters are still relegated to the sphere of objectification.
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Blake, Eric Michael. "Genre, Justice & Quentin Tarantino." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5911.
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The films of Quentin Tarantino have held a significant influence on modern cinema, and therefore on cinema studies. As such, studies on the social and philosophical implications of his work have appeared over the years, mostly in regards to content. However, with the exception of references to his use of cinematic violence, studies of his technique—i.e., his cinematic style—have been rare, and rarer still have been studies of the social implications that arise from the patterns of his style as well as those his subject matter.
The following thesis seeks to use the concept of Auteur Theory—specifically, that Tarantino is the primary artist of the films directed by him—to propose that a specific artistic style conveys a specific worldview: namely, that the artistic choices made by the director, in content and technique, can and do convey a viewpoint regarding “real life” and the world.
Specifically, this work will culminate in analyzing and determining tenants to be gleaned from the Tarantino canon regarding issues of justice, both on an individual and societal basis. With his focus on crime—again, both societal and individual—Tarantino makes commentary on societal breakdown; the audience’s emotional support (or lack thereof) for characters and their actions corresponds with identification, and therefore draws real-life parallels. Such refers to the concept of “Realism”, which will be discussed in detail.
Further, Tarantino’s trend of recycling elements from prior films refers to artistic “Postmodernism”—use of “pastiche” and sampling to create a “new” work. The thesis will analyze the value and meaning of the major samplings in Tarantino’s films—particularly in regards to genre--and concludes that, far from a simple conglomeration, a Tarantino “Genre-Blender” forms a cohesive whole, oriented towards specific impact of the audience.
From the above two issues of Realism and Postmodernism in art, and establishing the existence of a cohesive artistic vision in Tarantino’s work, this thesis identifies patterns in such that identify specific viewpoints on questions of “Good”, “Evil”, and “Justice”. Key to this is the dichotomy between objective principles and subjectivity in human interaction amid the applications of principles. Tarantino’s work conveys a belief in certain objective tenants; however, the applications that arise through interaction cause complications, arising through human limitations in perspective.
The ultimate purpose of this study is to link studies of social implications of film to not merely content, but in choices in cinematic style. It is a contribution at once to studies of film and to studies of artistic theory (in particular Realism and Postmodernism), using both to analyze how a specific, popular, mainstream artist reflects a worldview through the sensibilities that are channeled in creating his works.
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Kerry, Lucyann Snyder. "Genre and globalization : working title films, the British romantic comedy and the global film market." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4142.
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This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Tomlinson in Globalization and Culture as ‘the rapidly developing and ever-densening network of interconnections and interdependences that characterize modern social life’. This theory of globalization is used as a methodological framework to understand the complex network of global and local interconnections that has driven the development of Working Title Films over the past twenty five years to becoming one of the most important British production companies in the international film industry. Through a detailed analysis of the practices of development, production, distribution and exhibition by Working Title Films and the Hollywood dominated global film industry, this thesis seeks to understand the function of genre and genre films as cultural products, economic products and meaningful representations in the global market and to better understand Hollywood, mainstream film and cinema as social institution. The analysis in the following chapters serves as evidence to support the central argument of this thesis that the use of genre in the film industry’s production, distribution and exhibition processes of globalization was the critical area for Working Title Films to master in order to produce value as meaningful audience appeal and connectivity to global audiences for on-going economic success.
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Chen, Yeong-Rury, and na. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061009.132620.
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This doctoral research project intends to institute the study of the unique
and significant Huangmei Opera film genre by pioneering in making a
series of documentaries and writing an academic text. The combination
of a documentary series and academic writing not only explores the
relationship between the distinctive characteristics of the Huangmei Opera
film genre and its enduring popularity for its fans, but also advances a film
research mode grounded in practitioner research, where the activity of
filmmaking and the study of film theory support and reflect on each other.
The documentary series, which incorporates three interrelated subjects
- Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and
Brother Lian: Ling Po - explores the remarkable film careers of each figure
while discussing the social and cultural context in which they worked.
The section on Le Di introduces the subject of melodrama as a Chinese
tradition. The section on Li Han Hsiang discusses Li's film aesthetics and
his representation of a utopian Chinese world of the imagination. The final
section focuses on the popularity actor Ling Po gained through her roles of
male impersonation. All three topics provide an opportunity to rethink our
understanding of the social, political and cultural forces that contribute to
the genre, and to build an emotional connection between past and present
for the viewers. Meanwhile, by interviewing those surviving key figures
and assembling materials that have been lost, the documentary series not
only fulfils the needs of many fans, but also serves field studies in the area
by setting a direction in research and providing a valuable resource for
scholars involved in Chinese film and cultural studies. It is both accessible
to mainstream audiences and academically warranted.
As an adjunct to the documentary series, the written text explores
aspects of the same material in more depth through the use of structuralist
methodology, and psychoanalytic, auteur and genre theories. The text
combines these Western approaches with aspects of Chinese culture,
philosophy and aesthetic traditions, proposing links between Chinese
aesthetics and Western film theories that contribute new understandings
to both Chinese and Western film studies. On the other hand, because
these film theories were originally developed to study Western films, the
Chinese origins of the Huangmei Opera film genre may challenge existing
theoretical paradigms and so provide new interpretations. This doctoral
project also includes a complete report of all phases of the documentary
production and design process, and a unique, comprehensive filmography
of Huangmei Opera films, and as such supplies a research foundation
for both documentary filmmakers and academics who are interested in
studying the Huangmei Opera film genre further.
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Doria, Kim Wilheim. "O horror não está no horror: cinema de gênero, anos Lula e luta de classes no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-09032017-104856/.
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Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país.This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.
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Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.
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Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it.
Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacans theory of the four discourses, and focusing primarily on the oppositions of the Masters and the Analysts discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre.
Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the norm that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.
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Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.
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Bußer, Steffen [Verfasser]. "Gender und Genre in melodramatischen Literaturverfilmungen der Gegenwart - Far From Heaven, The Hours, A Single Man / Steffen Bußer." Mainz : Universitätsbibliothek Mainz, 2014. http://d-nb.info/1062751345/34.
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Raymond, Marc. "Martin Scorsese and American film genre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0027/MQ52363.pdf.
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Raymond, Marc (Marc Thomas) Carleton University Dissertation Film Studies. "Martin Scorsese and American film genre." Ottawa, 2000.
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Roskelley, Amanda Rebekah. "The Modern Mr. Darcy: An Analysis of Leading Men in Contemporary Romantic Comedy Film." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6074.
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This thesis is an observation and analysis of male performance in romantic comedy films released between 2005 and 2015. As a lasting genre, rom-com, like all forms of media, has the potential to influence society. Gender plays a vital role in the generic template of these films. Because women are the dominant consumers of this genre, what they observe as gender performance is important. This genre has been dissected under the eye of feminism and female gender performance but the changes in masculinity have been largely overlooked.This paper identifies common characteristics in leading men of this decade's rom-coms. After establishing the roles that gender, and men specifically, have played in the historical establishment of the genre, the modern man is proven to be significantly different than his predecessors. This research has identified three common facets of the modern leading man that are in stark contrast to the portrayals of the past: he is emotionally vulnerable, he is pointedly tender and domestic, and he is a strong proponent of the romantic relationship throughout the film. In response to the more autonomous and career-driven female leads of these modern films, the men have filled the genre-necessary void of domestic nurturers. This is seen through actions and characteristics such as their artistic careers, interactions with children, and commitment to the relationship.
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Papadimitriou, Lydia. "The Greek film musical (1955-75) : film genre and cultural identity." Thesis, University of Kent, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361386.
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