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Dissertations / Theses on the topic 'Film genres'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

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 wi
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2

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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3

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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4

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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6

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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7

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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8

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 t
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9

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 i
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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 co
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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 co
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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 analysi
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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 analysi
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14

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
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15

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 struct
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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, constit
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17

Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.

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This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering
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18

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 Teixeira<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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 princi
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19

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. C
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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 Abreu<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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
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21

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 sci
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22

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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23

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 ou
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24

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 p
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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
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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
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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
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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 su
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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 esthétiqu
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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 fe
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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
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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 inclina
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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
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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 inves
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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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<p>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.</p><p>The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it
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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 s
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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—spec
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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 Toml
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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 seri
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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.<br>This work aims to interpret the dialogue made by
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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
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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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47

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 t
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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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