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Phillips, Nathan C. "Beyond Fidelity: Teaching Film Adaptations in Secondary Schools." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1910.pdf.
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Olivier, Louise. "Integrating motion media in the instruction of English literature : outcomes-based guidelines." Thesis, North-West University, 2009. http://hdl.handle.net/10919/71509.
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In the age of digital literacy, teachers need to seek out the best practice in the use of technology so that the digital divide between teachers and learners can be bridged. This study proposed to look at ways to implement motion media (specifically the moving image) technology effectively as a supplementary instructional medium for literature study and to set guidelines for FET (Further Education and Training) English teachers so that learning outcomes could be achieved easily by all learners in the South African English literature class. The aim of this study was to provide guidelines for teachers in order to make optimal language (specific literature) learning possible and enjoyable through the application of motion media technology. In addition to the literature study, qualitative research was done through case studies and by conducting interviews with teachers who teach English Home Language and English as an Additional Language in the FET-phase. The problem addressed in this study is that even though educational technology (especially moving image technology) is easily available to most teachers, they do not implement it in their literature lessons as they are not adequately trained to incorporate it into their lessons. This makes the digital divide between teachers and learners even bigger. The dilemma for many teachers in the twenty-first century is that they have to teach learners print-based literature in an era where everything is technological. The pedagogical potential of moving image media within the English curriculum was explored in this study. The nature and scope of English as a subject area was discussed and various types of literacies were identified. A case was made for moving image education to become central to English literature teaching. Guidelines, strategies and techniques were proposed for teachers who are not technologically trained. Resources for teaching literature with the moving image were also identified. It became evident from the data received from the interviews conducted, that most teachers did not possess the knowledge and skills to use technology effectively in their English literature lessons. They did, however, express the need to receive training so that their literature lessons could be enriched with media other than just print. They wanted to empower themselves so that they in return could empower their learners. This study aimed to be of assistance to the pedagogy of English Home Language and Additional Language literacy teaching so that using the moving image in teaching does not add to teachers' workload, but enriches lessons in such a way that both the teachers and learners can obtain productive outcomes. The research also established that technology can be infused in English literature classes in a way that does not interfere with the content pedagogy, but supports it in a way that actively involves learners and prepares them with the technical and pedagogical skills for creating the new learner-centred classroom.
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Hinojosa, Manuel Matthew. "Teaching Outre Literature Rhetorically in First-Year Composition." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1189%5F1%5Fm.pdf&type=application/pdf.
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Westin, Karin. "The Role of Film Adaptations in the English Language Classroom : Teaching Print Literature with Multimodal Aids." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-56238.
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Literary appreciation is the ability to understand patterns of literature and literary devices, for example symbols and characterization in a text, as well as appreciate the text as a form of art. Without literary appreciation, students will most likely struggle to their reading comprehension and literary repertories, which will make it hard to become competent readers of literature. This essay argues that film adaptations can be used as a multimodal aid in the English Language Classroom in order to help students develop their literary appreciation. The essay claims that students should be able to interpret a professional evocation of the story by employing their multiliteracies. By comparing how the literary devices are used in the print literature and in a film adaptation, such as The Great Gatsby, students can transfer their multiliteracies from the film adaptation when they are reading the story in the print literature. By studying and using a professional interpretation of the print literature through a different medium that students are more proficient in deciphering, they can use it in their own personal evocation of the story when they are reading the print literature.
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Arvidsson, Elin. ""Säg till din mamma att köpa en bättre baddräkt åt dig" : En jämförelse mellan boken och filmen Svinalängorna, med utgångspunkt i temat utanförskap." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61210.
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This study compares the novel Svinalängorna by Susanna Alakoski and the film version, based on the theme of exclusion. The study aims to see the potential the film can have in comparison with the book when it comes to representing the theme of exclusion in the teaching of literature as part of the upper secondary subject of Swedish. This has been investigated using coding and analysis of narrative technique. Key scenes have then been set in relation to multimodality. The result shows that exclusion generally seems to be depicted in the same way in the book and the film. At the same time, the products differ in their focus on different aspects of exclusion. The aspect of poverty, for example, is more prominent in the book, while social problems are more prominent in the film. The fact that the film is multimodal was found to reinforce the exclusion, and the result shows that the film is probably best suited for use in teaching from the point of view of film as comparison.
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Nyström, Karin. "Film as a Tool in English Teaching : A Literature Review on the use of Film to develop Students’ linguistic Skills and critical Thinking in Upper Secondary EFL Classrooms." Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30811.
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Due to the fact that adolescents are familiar with so many different media and technology resources today, learning in a conventional way is no longer effective. The aim for this literature review was to analyse what research shows about the use of film as a teaching tool in English to develop students’ linguistic and critical thinking skills in upper secondary EFL classrooms. The results disclosed that film can improve students’ linguistic skills and critical thinking. One reason for this is that film is already such a large part of students’ lives and provides a meaningful and familiar context for them and that film offers visual support. Studentsʼ felt motivated to see and experience “real-life” situations as opposed to reading the conventional textbook. Interaction between the students also proved to be vital in developing their language skills. Results also showed that it is imperative that teachers present film not only as a tool of entertainment, but one for teaching as well. This can be done by creating contextualized assignments related to the film. The literature review concluded that there are gaps in knowledge of this subject and that further research is desirable.
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Luck, Renberg Teresa. "English film instruction in Swedish EIL middle schoolclassrooms : Using Critical Literacy with film texts." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-26735.
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This thesis is a qualitative text analysis of worksheets used in conjunction with watching films in English language studies in Swedish middle schools. The assignments used in the thesis were partly collected from partner schools in the teacher program and partly collected from a website which is a database of teacher submitted lesson plans. The results of the thesis include a presentation and discussion of different worksheets used by teachers, using a structure based on one used for critical discourse analysis instruction with students. The evidence suggests that two factors gave an increase in explicitly named aspects of critical literacy in film studies: firstly, that the assignment be situated in a program of study within the Swedish curriculum which shares many of the goals of critical literacy studies and secondly that the choice of film is one that challenges students to reconsider their experiences in light of the film. This study also raises the concern that the questioning methods used to implement critical literacy studies are being used to increase student talk for the purposes of grading oral proficiency without interactive discussions.
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Murphy, Timothy G. "The Use of Film in a First Year College Writing Class for ESL Students." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/565898.
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The inclusion of film is becoming ever-more popular in the field of First Year College Writing Classes for NES and NNES students around the country. Many of the reasons for this are self-evident. Film frequently offers a strong emotional appeal to NNES students and more opportunities to access what may otherwise be linguistically inaccessible material (e.g., Stempleski, 1990; Kasper, 2000). In addition, film offers a pleasant alternative to the use of literature in a First Year Writing Class which can often intimidate or discourage many NNES students due to its linguistic complexity (McKay, 1982). What is less clear, however, is how film's inclusion may contribute to the development of academic writing skills in similar or different ways from print texts, such as short stories, poems, and essays. Therefore, this dissertation will compare the benefits and challenges of using film and print texts in a First Year College Writing Class for NNES students. From data gathered from student essays, interviews, surveys, and field notes, the current study addresses the following research questions: (1. What linguistic and rhetorical features characterize the style of academic discourse NES and NNES students produce about films compared to print texts? (2. What challenges do NNES freshman composition students face writing academic essays about films compared to writing about print texts? (3. What academic strategies do they say they use to try to overcome these challenges? Do any academic strategies correspond with particular linguistic and rhetorical features? (4. What are NNES students' opinions regarding watching and writing about films in a university composition class? Do students consider watching and writing about a film comparable as an academic activity to reading and writing about a print text? The study aims to contribute to the field of Second Language Writing literature by considering the impact of the choice of text form, either a movie or a print text, on NNES students' motivation and ability to write academic, college-level essays. Further, it will explore in what ways students' cultural, educational and linguistic backgrounds affect the ways they approach writing about a film and a print text. This knowledge should be especially helpful for Writing Program Administrators and First Year College Writing Teachers for NNES students. It should be noted that, as a result of this dissertation's findings, the researcher has changed his approach toward the use of film in a First Year College Writing class for NNES students. Descriptions of activities the researcher currently uses before and after screening a film are included in the final chapter of this dissertation.
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
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Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Pitcher, Jeffrey Christian. "Use of a video based instruction program to enhance English literature and writing concepts." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2887.
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In this project an educational DVD about the life and writing styles of John Steinbeck was developed for use in high school freshman classrooms at Yucaipa High School. Additional activities to stimulate students' writing and composition in the style of Steinbeck were created to match educational theory and state standards.
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Wang, Bo. "Inventing a Discourse of Resistance: Rhetorical Women in Early Twentieth-Century China." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.
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Morrow, Stephen M. "The Art Education of Recklessness: Thinking Scholarship through the Essay." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492288407200045.
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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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Biermann, Brett Christopher. "Travelling philosophy from literature to film /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2006. http://dare.uva.nl/document/51450.
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Vugman, Fernando Simão. "The gangster in film and literature." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78172.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-17T11:06:09Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T17:15:20Z : No. of bitstreams: 1 177932.pdf: 6186126 bytes, checksum: 0cb45a91a397ae00293b454c112c2398 (MD5)
Estudo do gangster na literatura e no cinema hollywoodiano, desde seu surgimento no início da década de 1930, até a década de 1990. O gangster é analisado como uma figura mítica, ao passo que a produção de Hollywood é discutida como a moderna mitologia da sociedade americana. Para melhor explicar o gangster, é-lhe aplicada a metáfora do monstro, isto é, aquele ser comum a todas as sociedades humanas, cuja função é personificar todo o mal. Afirma-se que existem, no plano ideológico, dois tipos básicos de personagens nos filmes de Hollywood: os ideologicamente positivos e os negativos; ambos os tipos servem para reafirmar a ideologia dominante. O gangster é um tipo único, já que somente ele resiste a cumprir a função de reafirmação ideológica.
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Rogers, Alan. "The contemporary horror film." Thesis, Sheffield Hallam University, 1990. http://shura.shu.ac.uk/3121/.
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This thesis approaches the contemporary horror film from a number of directions. Firstly, it is considered in relation to the historical roots of horror fiction, the tradition of the literary Gothic which stretches back as far as the late eighteenth century. The same chapter elaborates the broad outline of a methodology, drawing upon an established body of genre theory in both literary and film studies, which is then applied to the gradual diffusion of the Gothic legacy into the related genres of detective stories/thrillers, horror, and science-fiction, the inter-relatedness of these three genres forming part of the cultural context for modern horror. Chapter 3 considers Alfred Hitchcock's Psycho (1960) in relation to the structures and iconography of the original Gothic, and in the light of its fusion of conventions drawn from the horror film and the thriller. Chapter 4 compares this film with a similarly influential movie - Halloween - made almost two decades later, assessing some of the changes which the genre has undergone in the intervening period. The following five chapters (5-9) discuss a number of films of the period 1968 - 80, paying particular attention to works that have figured prominently in the established critical literarure around the genre, both as an appraisal of existing approaches and as an indication of the immediate context for developments over the last decade. The remaining four chapters (10 - 13) consider some developments of the 1980's, disputing the critical construction of the "body horror" category and providing an account of the horror-comedies which have generally been neglected by critics. The conclusion involves a synthesis of the material covered and a return to the Gothic tradition in order to conceptually situate the findings. There is an extensive biblography involving a variety of material ranging from popular magazines and newspapers to influential academic works, drawn more or less equally from the fields of literary criticism and film studies.
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McNamee, Robert V. "Writing for film : the role of the Production Board of the British Film Institute." Thesis, University of Oxford, 1994. https://ora.ox.ac.uk/objects/uuid:bf4bcf2d-4120-4c59-a196-05d9f771a9dc.
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This thesis provides detailed textual analysis of four films made (with BFI Production Board assistance) by two important, though contrasting, British writer/directorsâ My Childhood, My Ain Folk and My Way Home (Bill Douglas, 1972-77); and The Draughtsman's Contract (Peter Greenaway, 1982). Though the thesis is focused on those films, its form and substance have been governed by the fact it is text-based and presented within the Faculty of English. The first chapter briefly considers early national and governmental concerns about the role of film in British life, includes a survey of films legislation and looks at the proposals for a National Film Institute. The second chapter looks at the specific outcome of those proposals, namely, the creation of the British Film Institute. It also looks at the history of BFI film production up to 1982, which is the terminal date of the period under study. The discussion then turns to the main topic of the thesis, a detailed textual analysis of the Douglas and Greenaway films. As both discussions demanded, as a sine qua non of the descriptions offered, accurate texts of each work in its final, achieved form, editions of each have been specially prepared and are submitted with the thesis for ease of consultation. While the discussion of each work is primarily concerned to establish its distinct nature and quality, the two chapters devoted to them implicitly serve also a larger argument, dealt with more summarily in the thesis, about the perceived conflict between the demands of art and industry. Where the Douglas trilogy demonstrates a thoroughly uncommercial enterprise in the pursuit of a highly personal statement by its director for whom an integrity of personal experience was the prime concern, analysis of Greenaway's film demonstrates a contrasting achievement in terms of a commercial cinema and a quite different aesthetic. Where the one was in part made possible by the BFFs earlier commitment to experimental filmmaking, The Draughtsman's Contract is the expression of the Production Board's later concern to produce work for a broader audience poised on the borderline of art and entertainment. The conclusion briefly takes up those issues and offers some suggestions as to the ideological and historical origins of the art/industry debate. This is complemented by a substantial bibliography of further reading on 'Culture, Art/Industry, and Avant-Gardism'.
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GUIMARAES, CLAUDIO DE ASSUMPCAO. "THEORETICAL ELEMENTS ON LITERATURE TEACHING." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10719@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA presente dissertação de mestrado, Elementos teóricos para o ensino da literatura, tem por objetivo uma compreensão do fenômeno literário que transcende a sua configuração textual, em vista de uma atualização do ensino da literatura em escolas de Nível Médio. Para alcançar este fim, a pesquisa analisa ferramentas teóricas desenvolvidas pela Estética da Recepção e pela chamada Ciência Empírica da Literatura, avaliando a oportunidade de transferir os seus modelos para o espaço escolar, como estratégia pedagógica inovadora capaz de revigorar o próprio ensino. Neste sentido, a dissertação pretende oferecer caminhos de mediação entre uma tradição ainda vigente e propostas de renovação no campo da didática com respeito ao fenômeno literário e suas formas de historiografia.
The present M.A. thesis, Theoretical elements on literature teaching, aims at understanding the literary phenomenon which transcends its textual configuration. It keeps in sight the update of literature teaching in high school (medium level). In order to achieve such goal, this research analyses theoretical tools developed by the Reception Aesthetics and the so called Empiric Science of Literature. It evaluates the opportunity of transferring those models to the space of the school, as an innovative pedagogical strategy capable of renewing the act of teaching. In such sense, this thesis intends to offer ways to deal with a still present tradition and the renewal proposals in the field of didactics concerning the literary phenomenon and its historiography.
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Ranney, Melinda Meek. "Teaching Disadvantaged Children Through Literature." UNF Digital Commons, 1990. http://digitalcommons.unf.edu/etd/88.
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This paper concentrated on the teaching of economically disadvantaged children and the importance of reading aloud to these children. The traditional language program was found to be ineffective for disadvantaged first-grade children. A modified language plan was implemented in a classroom of disadvantaged first-grade students. This plan consisted of two units and involved the reading aloud of literature and language-related activities. Results indicated these students learned more effectively from units of study centered around literature.
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Pinar, Garcia Alex. "Western Literature in Japanese Film (1910-1938)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667250.
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Des del inicis del cinema s’han realitzat un innumerable nombre de pel·lícules basades en obres literàries. L'adaptació cinematogràfica es pot considerar un procés interpretatiu en què el cineasta crea un nou treball artístic mitjançant la transformació de l'estructura, el contingut, l'estètica i el discurs narratiu de l’obra literària. És freqüent veure pel·lícules en les que els directors han adaptat obres literàries del seu propi àmbit cultural, però és menys comú trobar exemples de directors que han creat pel·lícules basades en obres d'una esfera cultural i tradició literària diferent.
Aquest és el cas d'alguns cineastes japonesos, com Kurosawa Akira, que va adaptar amb èxit obres destacades de la literatura universal. Moltes investigacions han centrat la seva atenció en les adaptacions realitzades per Kurosawa i altres directors japonesos en la dècada de 1950 i posteriors, un període en el qual el cinema japonès va rebre reconeixement a tot el món i va aconseguir presència internacional en prestigiosos festivals de cinema. No obstant això, hi ha hagut poca o gairebé cap atenció a la les adaptacions de literatura occidental produïdes al Japó durant els anys 1910, 1920 i 1930, al llarg de les anomenades èpoques Meiji, Taishō i Shōwa- preguerra.
L'objectiu d'aquesta investigació és, per tant, explorar les relacions intertextuals entre aquestes pel·lícules i les obre literàries en la qual es van basar, i descriure les transformacions culturals en l'estructura, el contingut, l'estètica i el discurs narratiu realitzats en el procés d'adaptació. Així, la metodologia emprada segueix l'enfocament dialògic de Stam, tenint en compte altres propostes metodològiques recents, les quals suggereixen afegir aspectes històrics, culturals i contextuals a l'anàlisi de les adaptacions cinematogràfiques. Aquesta tesi té la intenció d’aportar una nova perspectiva als estudis de les relacions intertextuals entre cinema Japonès i la literatura universal mitjançant l’anàlisi de pel·lícules produïdes durant la primera meitat del segle XX que no han estat mai o han estat molt poc estudiades.Since the beginning of cinema, innumerable films have been derived from classic or popular literature. Film adaptation of a literary work can be considered as an interpretative process in which the film director creates a new artistic work through several transformations in the structure, content, aesthetics, and narrative discourse. There are hundreds of films in which the directors have adapted literary works from their own cultural sphere, but there are fewer examples of directors who have made movies based on literary works from a different culture and literary tradition. That is the case for some Japanese film directors, such as Kurosawa Akira, who adapted foreign literature for the screen. Many scholars in the field of Film Studies have focused their attention on the adaptations made by Kurosawa and other Japanese directors in the 1950s and subsequent decades: a period during which Japanese cinema received acknowledgment worldwide and achieved an international presence in prestigious film festivals. However, there has been little or no attention to the adaptations of Western literature produced in Japan during the 1910s, 1920s, and 1930s, throughout the so-called Meiji, Taishō, and Shōwa pre-war eras. The objective of this research is therefore to explore the intertextual relations between those films and the Western works on which they were based, and to describe the cultural transformations in the structure, content, aesthetics, and narrative discourse carried out in the process of adaptation. The methodology employed follows Stam’s intertextual dialogic approach, and takes into account the most recent theoretical frameworks, which suggest adding historical, cultural, and contextual aspects into the analysis of film adaptations. This dissertation goes far beyond the scope of the previous investigations, as it examines Japanese movies based on Western literature produced during the first half of the twentieth century that have never or barely been studied.
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Faithfull, Denise. "Adaptations Australian literature to film, 1989-1998 /." Connect to full text, 2001. http://hdl.handle.net/2123/1771.
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Thesis (Ph. D.)--University of Sydney, 2001.Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.
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McHugh, Ian Paul. "Liminal subjectivities in contemporary film and literature." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/38659/.
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This thesis discusses the intersection of subjectivity and the liminal in contemporary literary and filmic texts. In discussion of eight texts, the thesis weighs the dual meaning of “liminal subjectivities” – the liminal space between subjectivities, and the condition of subjectivity as it negotiates the liminal. It aims to explore how liminality manifests in manners both universal and specific to the literary or filmic form, in the embodiments of characters, and the rhythms and poetics of the text. It considers the liminal a privileged trope of destabilised subjectivity, a space of suspension and potentiality, and explores how the liminal functions as an interface between haecceity and otherness; whether it binds together or holds apart; if it is a space between oppositional states or a continuum of specific sites of intensity. The eight texts discussed are The Rings of Saturn and Vertigo (W. G. Sebald), Sputnik Sweetheart, Kafka on the Shore, and After Dark (Haruki Murakami), Eternal Sunshine of the Spotless Mind and The Science of Sleep (Michel Gondry), My Own Private Idaho (Gus Van Sant). The work of Sebald and Gondry is considered in translation from the original German and Japanese. The thesis considers both literary and filmic texts to contrast the salient modalities of subjectivity that each form constructs. Each chapter considers how liminality manifests at the surface of the text, how a liminal agency operates to interrupt, destabilise, and displace subjectivity in the spaces between languages, genre, form, voice, states of consciousness, word and image, facticity and fictionality, and cinematic and literary tropes and modes. The discussion explores how this is reflected and expanded upon within the text, in liminal embodiments, intensities, and motifs, such as the hypnagogic, rites of passage, the uncanny, home, the vespertine, night, metamorphosis, carnival, as well as issues of space – the non-place, the extraterritorial, and nomadic space.
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Byford, Christopher. "Ontological assumptions in film theory." Thesis, University of Kent, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362308.
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Flanagan, Martin James. "Mikhail Bakhtin and Hollywood film." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366117.
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Lacey, Joanne Elizabeth. "Seeing through happiness : class, gender and popular film; Liverpool women remember the fifties film musical." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300615.
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Chen, Xihe. "The major developments and their ideological implications of Chinese film and film education since the Cultural Revolution /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848891513024.
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Yung, Yuk-yu. "Teaching film as a space of interpretative interaction." Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/HKUTO/record/B38628557.
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Yung, Yuk-yu, and 容若愚. "Teaching film as a space of interpretative interaction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B38628557.
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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.
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Claydon, E. Anna. "Masculinity and the sixties British film." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274320.
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Ngo, Lập Tu McLaughlin Robert L. "Literature as allusion processing and teaching Vietnam-American war literature." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225141141&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177941823&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2006.Title from title page screen, viewed on April 30, 2007. Dissertation Committee: Robert L. McLaughlin (chair), Ronald Strickland, Aaron Smith. Includes bibliographical references (leaves 196-207) and abstract. Also available in print.
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Behari, Kasturi. "Literature education for transformation : a critical pedagogy for literature teaching." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/19575.
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Bibliography: pages 115-119.As the new South African national ethos is borne, education assumes the inenviable role of reconciliator and liberator amidst the programme of the redressing of past imbalances. Stakeholders everywhere are looking to the field of education for national reconstruction and nation building through the development of young minds into productive, active and creative citizens. Indeed, the responsibility that education bears is a moral one. The broad field of this dissertation identifies Literature Education as a tool for transformation within the specific context of present post-apartheid South Africa. A paradigmatic analysis of literature teaching is provided to establish a theoretical framework for teachers to critically appreciate the underpinnings of their methodological practice, within which to locate their current literature teaching trends. Making a paradigmatic shift in literature teaching implies a change in our beliefs concerning knowledge and meaning; power and authority and learning and teaching in society. The thesis posits that Literature Education must necessarily be located within a critical paradigm of teaching, so that as a critical pedagogy, it may facilitate the self and social transformation of pupils and practitioners alike. Within the critical paradigm of literature teaching, reading is reconceptualised as an interactive process between reader and text. The reader's status is elevated to meaning-maker, without whom the act of reading would be void. Adequate literary theory is advanced on Schema Theory as a model of reading analyses of a reader's or pupil's Personal-Mental Schemata. The theory of Additive Schemata is proposed as the means to effect the transformation in pupils through Schema Refreshment or Schema Alteration. The critical teacher using Additive Schemata inputs, is in a position to maximise the potential that the learner has for transformation. Transformation, however is not guaranteed as it depends on a variety of factors such as a learner's flexibility, logical reasoning and a need to be transformed. In order to validate this proposal a research project was conducted in an English Literature class, the dynamics of which are detailed in Chapter Three in their entirety. The findings reveal that Additive Schemata have a positive influence on a learner's personal-mental Schemata leading in most cases to a transformation within pupils who engaged critically with the Additive Schemata approach. The research acknowledges that a learner's point of entry is not the same as the point of departure within the Additive Schemata approach. Learners are not being introduced to a new moral order; the Additive Schemata offers learner's a new moral choice. In so doing, literature teaching, following the Additive schemata approach, embodies the central tenets of a critical pedagogy offering pupils a process that is self-liberating and socially empowering.
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Waschneck, Katja. "Screening 'Oulipo' : from potential literature to potential film." Thesis, University of Essex, 2018. http://repository.essex.ac.uk/22413/.
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This thesis documents a research and art project that explores the creative value of using constraints in film. The starting point is the Ouvroir de Littérature Potentielle (Oulipo), the Potential Workshop of Literature, whose members explore the Potential of Literature by writing with constraints, and the films of the early twentieth century avant-garde, which demonstrate the promise of experimentalism in cinema. From these points of inspiration, the idea of using constraints to explore the potential of a field is transferred to film. As the practice of filmmaking with constraints is yet to be fully formalised and currently lacks substantial academic recognition, this thesis presents a theorisation of constraint filmmaking as a creative practice that cuts across cinematic genres and already established areas of filmmaking practice – those of short, feature, and documentary film. The cinematic work emerging from the Ouvroir de Videographie Potentielle (Ouvipo), the Potential Workshop of Video, and the movement of Dogme 95, are shown to be influential in the theorisation of constraint filmmaking practice, and several other examples of constraint films across cinema will be addressed to show how the use of constraints can enhance a filmmaker’s creativity. The thesis is accompanied by three constraint films: Project Cube, A Day in your Life, and Tales and Tellers, which were made in adherence to the stages of the constraint filmmaking process. Project Cube is an exploration of mathematically inspired constraints and is grounded in the idea of permutation. Twelve shots are used to create several different films, with their order being determined by the rolling of dice. A Day in Your Life focuses on the interplay between linguistic constraints and their visual counterparts, reality and fiction, and past and present. Tales and Tellers is a project that shows the power of images, as fairy tales from participants are illustrated in moving images, using constraints to create these pictures. These short films demonstrate both my theorisation of constraint filmmaking as a practice that can be adopted by other artists also, and my journey from Potential Literature to Potential Film.
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Chen, Yue. "Between Sovereignty and Coloniality--Manchukuo Literature and Film." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23783.
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This dissertation studies the cultural imagination of Manchukuo the nation (1932-1945). As a nominal nation-state imposed upon Chinese Manchuria by the Empire of Japan, Manchukuo is a contradiction between sovereignty and coloniality, both due to the historical competition of geopolitical powers in the region and its multiethnic composition of the national community. In its short political life, Manchukuo bears witness to an unprecedented flourish of literary and film production. This textual corpus remains understudied and its relationship to Chinese literature and culture or Japanese literature and culture is insufficiently explored. Armed with postcolonial and minority discourse, this project examines how Manchukuo cultural production mediates the notion of the nation and sovereignty in the context of Japanese imperialism. The close reading and critical interrogation of this body of literary and filmic texts shall generate provocative questions for the reconstruction of Chinese literary studies and East Asian studies.
The body of the dissertation consists of four interrelated arguments. Framing the reading in the context of recent scholarly debate on “the Sinophone,” Chapter two considers Manchukuo literature as a “minor literature” whose distinction lies in its writers’ use of “deterritorialized” Chinese, Japanese, and Russian. Multilingualism and multiethnicity are therefore the (trans)national features of Manchukuo literary production. This literary “sovereignty” is then re-examined through the representation of Manchukuo’s women and family in Chapter three. Interpreting coloniality through reading gender relations, this chapter highlights the unusual progressive portrayal of women in Manchukuo. This discovery of Manchukuo women’s autonomy and mobility is reinforced in the interpretation of Manchukuo’s dramatic feature films. Working through feminist critique of gender division and looking into magazines of the era, chapter four and five analyze the films’ explanation of a contradiction within Japanese imperialism. This contradiction of “sovereignty” and “submission” gets further elaboration in Chapter five. An interpretation of the star text of Ri Kōran reveals her stardom and Manchukuo film musical provides a unique anti-romantic “affiliation” of the Manchukuo nation.
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Arzac, Sergio. "Spanish Migration in Contemporary Spanish Literature and Film." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84163/.
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Spain underwent drastic social and political changes in the last decades of the twentieth century which also affected the nation’s patterns of emigration. Contemporary Spanish literature and film that portray these decades reflect the country’s fluctuating characteristics of migration. ¡Vente a Alemania, Pepe! (1971) by Pedro Lazaga, Coto vedado (1985) by Juan Goytisolo, El hijo del acordeonista (2003) by Bernardo Atxaga, and Yoyes (2000) by Helena Taberna demonstrate Spain’s migration trends during the last years of Franco’s dictatorship and the transition to democracy. The nation’s highly increased socioeconomic development in the 1970s and 1980s which eventually led to a first-world status also affected emigration, which can be seen in Carlota Fainberg (1999) by Antonio Muñoz Molina, Kasbah (2000) by Mariano Barroso, Restos de carmine (1999) by Juan Madrid, and Map of the Sounds of Tokyo (2009) by Isabel Coixet.
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Payne, Alan Robert. "An intertextual approach for teaching literature /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850458331&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279561194&clientId=22256.
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Thesis (Ph.D.)--University of Mississippi, 2008.Typescript. Vita. "May 2008." Major professor: Benjamin F. Fisher Includes bibliographical references (leaves 166-170). Also available online via ProQuest to authorized users.
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Ziemsen, Eva. "Developing a learning model for teaching film production online." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63862.
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Through my roles as a film professor, filmmaker and PhD student, I have acquired a strong motivation to develop a learning model for the teaching of film production online. My initial interest for conducting research in this area began a few years ago when I taught a screenwriting workshop in Bhutan. On my return to Canada, I wished there was a way for me to continue teaching my students in Bhutan in the domain of film production. Further research has led me to discover that machinima, a virtual mode of recording animation, could be the solution to teaching almost all aspects of filmmaking, entirely online. Machinima is already very popular amongst educators, both face-to-face and as an online mode of delivery, however, its legitimacy as a cinematic art form has given rise to a controversial debate. My goal was to employ the research method of a/r/tography (standing for artist, researcher, and teacher), to create a complex artistic and academic work to demonstrate that machinima is a valid method of filmmaking and is an immersive mode of teaching film production in the online context. The Art entailed creating a short hybrid film using machinima and live action, entitled, Romeo & Juliette2016. The Research included a literature review that situated my work in the theory that underpins machinima as an art form and in the context of online learning. The Teacher component included a documentary in which I exhibited my film to select ‘critics’, in film, media and film education, and invited them to respond. The documentary was intended to produce discourse around the notion of machinima as an art form and as a teaching tool. Finally, in conclusion, I wrote a response chapter to this interaction and to the project as a whole. This study is highly relevant in the current landscape of media and 21st century education as virtual reality applications are taking hold in the professional filmmaking process and as a teaching tool, and machinima is part of this revolution. Supplementary materials available at: http://hdl.handle.net/2429/63862Graduate and Postdoctoral Studies
Graduate
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Winroth, Jonathan. "Teaching with emotion : Film som pedagogiskt verktyg i religionsundervisning." Thesis, Karlstads universitet, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66101.
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Ward, Kathryn Ann. "Clients, Colleagues, and Consorts: Roles of Women in American Hardboiled Detective Fiction and Film." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225394427.
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Speranza, Robert Scott. "Verses in the celluloid : poetry in film from 1910-2002, with special attention to the development of the film-poem." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/6018/.
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Poetry is not a new phenomenon in film and television. It is consistently treated as such because its presence is not common; poetry is repeatedly viewed as a 'special element' in a production. However, visual poetry is becoming less and less of an oddity in modern-day films. This thesis, which surveys multiple intersections of poetry and cinema, places particular emphasis on the most specific and direct use of poetry within film: 'film-poems'. Numerous poets and filmmakers today have made film-poems, particularly poet Tony Harrison. These works are important because they are revolutionary in their combination and application of the two media: a film-poem is a simultaneous collaboration of writing, shooting and cutting, which makes for extraordinary, sense-inundating viewing. Their qualities, not to mention their evolution, have escaped formal study for the most part, and fully deserve critical exploration. The Harrisonian film-poem heavily involves both filmmaker and poet in most aspects of production. Yet there are discrepancies that emerge when using the term 'film poem'. Other classifications link the words to the arena of avant-garde cinema. Avant-garde films might contain some verse, but mainly they depict a theme or story through a cinematically metaphorical means, using images as those metaphors, using cinematic devices as poetic devices. A study of the avant-garde and a language of cinema that is called 'poetry'itself (by some)is another focus of this thesis. I also concentrate on the cinematic placement of poetry in feature films. When films cite poetry, they immediately take on a new dimension, a significant deeper layer to their own story lines. Similarly, the poem also gains a significance that will link it with a scene and theme in the film, and the film's specific images. I begin this thesis with a study of this kind of citation, discussing the prospect of poetic presence in film, and proceed to discuss the development of film and poetry, which inevitably leads to its most significant intersection: the film-poem.
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Zuloaga, Carole. "Multicultural literature." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/845.
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Quigley, Paula. "The status of the image in film theory." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300937.
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Berman, Julia E. "African American tropes in popular film /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3091899.
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Du, Plooy Alta. "Die ongelooflike avonture van Afrikaanse filmaanpassings: filmic adaptations of Afrikaans literature with specific focus on novels, youth literature and stage plays." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13349.
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Includes bibliographical references.South African cinemas, and Afrikaans cinemas in particular, have mostly been studied for its political, representational and socio-political value and its often-problematic furnishing in these categories. This dissertation explores different lenses through which Afrikaans cinemas can be studied. It models itself on Alexie Tcheuyap’s framework in Postnationalist African Cinemas (2011) which directly questions the notion that African cinemas have to be revolutionary, nationalistic, subversive and/or post-colonialist. These demands were clearly set out by FEPACI in the 1960s and many scholars never revised their strategies of scholarship or kept up with the vast political, social and cultural shifts of most of the continent’s cinemas and audiences. Tcheuyap argues for a new way of studying these cinemas that allows for emphases on genre, myth construction, sexuality, dance and the refraction of some cultural practices in the imagination of filmmakers, audiences and the screen (2011). Because this study models itself on new frameworks of investigating African cinemas, it contextualises Afrikaans cinemas within African cinemas. Afrikaans as a language should own its connections of a history of oppression and terrorisation of around 90% of South Africans for a very long time before, during and even after apartheid. It is however imperative that the language’s function, representation and literary and artistic contribution to South African culture is revised and included in studies of African cinemas. The unabashed subversiveness of Afrikaans filmmakers like Jans Rautenbach and Manie van Rensburg during the height of apartheid is often overlooked. Even though scholarship of Afrikaans cinemas is relatively limited, the domain of the discipline is rather large with a history that spans across 83 years. The parameters for this study beacon off one sector namely that of filmic adaptations of Afrikaans literature. Specific focus will be given to adaptations of novels, youth literature and stage plays. Adaptation theory has, like the study of African cinemas, only very recently moved away from the popular essentialist, page- to -screen view of what filmic adaptions should be or do. Kamilla Elliott teases out a complex history and development of scholarship and tendencies in adaptation studies in her book, Rethinking the Novel/Film debate (2003). I unpack Elliott’s tracing of interart wars and interart analogies and concepts of adaptation in chapter two. This proposed framework for adaptation studies is used to map some of the primary texts ’ film aesthetics and strategies of thematic moulding in Roepman (2011) in chapter two. Chapter three explores the special interaction between adaptation and particular narrative component and how the director uses a mixed film aesthetic to move between a character’s interiority and exterior environment in Die Ongelooflike Avonture van Hanna Hoekom (2010) . This chapter also analyses how Afrikaans films have posed challenges to the nuclear family – both Skilpoppe (2004) and Hanna Hoekom feature overt explorations of this theme. A contemporary stage play has never been adapted for Afrikaans film. Chapter four regards two adaptations from stage plays – Moedertjie (1931) and Siener in die Suburbs (1975) to observe how space and genre, with specific reference to melodrama, has entered into and functions in these texts.
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Hagen, Alexandra S. "Rhetoric of Ruin: 9/11 in German Literature, Film and Culture." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672178.
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Russell, Deirdre Doran. "Narrative identities in contemporary French autobiographical literature and film." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492087.
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This thesis uses concepts of narrative identity to assess the functions and characteristics of storytelling in the articulation of personal and cultural identity in four French literary and filmic autobiographical texts from the 1980s and 1990s: Azouz Begag's novel Le Gone du Chaäba (1986), Claire Denis' film Chocolat (1988), Annie Ernaux's book Journal du dehors (1993) and Dominique Cabrera's film Demain et encore demain (1998). Synthesising various accounts of narrative identity expounded by a range of philosophers, sociologists, psychologists and historians (including Paul Ricceur, David Carr, Jerome Bruner and Adriana Cavarero), the thesis argues that they offer a fruitful approach to autobiographical discourse in terms of the temporal configuration of lived experiences, the blend of historiographical and fictional modes and above all the intersubjective basis of autobiographical identity. The enquiry focuses on evaluating the texts' critical interrogations of the storytelling mode alongside their own uses of narrative. Structured in two parts, the analyses in Part I focus on textual narrative approaches to the intersections and tensions of contested myths and histories in the constitution of hybrid postcolonial identities. Chapter One argues that using a narrative approach to lives and selves to analyse Le Gone du Chaäba yields insights into the formation and expression of identities by individuals located between conflicting traditions and discourses. Chapter Two, on Chocolat, broaches similar territory, but with a greater emphasis on memory processes and the visual dynamics of identity. The analysis probes the film's depiction of the narrative underpinnings of imperialism and its remembrance, as well as how the text develops alternative narrative practices which undermine the totalising knowledge of History in favour of a subjective positioning which foregrounds its own European perspective and limitations. Part II shifts attention to two diaristic works as a means of assessing the validity of the concept of narrative identity regarding texts which appear to eschew the narrative form as the best means of representing lives. Chapter Three, examining Journal du dehors, contends that a spontaneous narrative impulse is crucial to the text's responses to everyday experience and urban public life, and is ultimately expressive of the author's autobiographical identity. Chapter Four focuses on the twofold narrativity of Demain et encore demain: that of living (during the filming), and that of textual revision (during the editing), arguing that the interplay of these two levels and mediation of documentary and fictional registers are central to the therapeutic value of the project. The thesis concludes that while the four texts share a certain scepticism regarding the ideological uses of narrative, they also all express desires to understand and articulate the narrative fabric of lives.
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Harewood, Gia Lyn. "Constructions of violent Jamaican masculinity in film and literature." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8541.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Smith, Charlotte Palfreyman. "Identification Through Inhabitation in Literature, Film, and Video Games." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3257.
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In real life we each experience the world separately through our individual bodies, which necessitates what Kenneth Burke calls "identification." In this paper, I assert that as artistic media have structured our aesthetic experience in a way that increasingly resembles our lived, embodied experiences, our identification with fictional characters requires less imaginative effort and is more automatic and powerful. I will show this by analyzing how we inhabit characters through sensory engagement, point of view, and narrative form in literature, film, and video games (specifically action/adventure games, RPGs, and MMORPGs). I will then build off of Burke's foundational theory to articulate a clearly defined spectrum of identification as it occurs in art, emphasizing that identification through video games is the most immediate and powerful. To conclude, I'll consider how video games—a young and stigmatized art form—can formulate our identities and increase our ability to identify with others in real life, where we cannot inhabit each other's bodies.
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Disque, J. Graham, and D. Henderson. "Using Art, Literature, Film and Music in Counselor Education." Digital Commons @ East Tennessee State University, 1995. https://dc.etsu.edu/etsu-works/2837.
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GIANNINI, ROBERTA. "A TRANSCREATION FILM ANALYSIS FROM JULIO CORTÁZAR´S LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13912@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEste trabalho trata da adaptação cinematográfica enquanto uma transcriação, ou seja, como uma interpretação criativa por parte dos roteiristas/diretores a partir do texto-fonte dos escritos de Julio Cortázar. Segue a análise sobre linguagem e narrativa literária e cinematográfica e como o cinema moderno criou uma nova forma de contar histórias através do meio visual. É abordada também a literatura e o cinema modernos em diálogo, com a análise de mimese e simulacro através de uma interpretação criativa, e da adaptação como uma intertextualidade palimpsestuosa. Por fim realizamos a análise dos contos que serviram de inspiração aos diretores que fizeram de suas obras uma adaptação transcriativa de Cortázar e dos filmes propriamente.
This work deals with the film adaptation as a transcreation, ie., as a creative interpretation on the part of screenwriter/directors from the source text of Julio Cortázar’s writings. It follows the analysis of literacy’s and film’s language and narrative and how the modern cinema has created a new way of telling stories through visual means. It also addressed the modern literature and cinema in dialogue with the analysis of simulation and mimese through a creative interpretation, and the adaptation as an intertextual palimpsest. Finally we conducted an analysis of the stories that served as inspiration to the directors who made a transcreative adaptation from Cortázar’s works and the films properly.