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Dittrich, Elisabeth, and Rebecka Karlström. "Musik i Film : The Sound of Movies." Thesis, University of Kalmar, Baltic Business School, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2444.
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The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.
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Seng, Phillip S. "Reconstructing film studies : towards a transactional theory of movies /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1559848631&sid=8&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Weinhold, Florian. "Self/other representations in Aleksei Balabanov's 'Zeitgeist movies' : film genre, genre film and intertextuality." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/selfother-representations-in-aleksei-balabanovs-zeitgeist-movies-film-genre-genre-film-and-intertextuality(29460f94-0440-431c-8d59-53133c73489f).html.
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This thesis uses the prism of genre to explore the character of self/other representations in five 'genre films' made by the Russian filmmaker Aleksei Balabanov and released between 1997 and 2006. It provides the first book-length study of Balabanov and aims to shed new light on the complexity of genre films and their representation techniques in an influential area of post-Soviet Russian cinema. The thesis aims to deconstruct the widespread perception of Balabanov as a populist director of 'mere genre movies', which are replete with xenophobic self/other representations. The films under investigation are linked through their developments of genre, evolving themes, an overarching narrative and multiple dialogicity among themselves, with their audiences and with Hollywood. They are shown to reflect the changing post-Soviet Russian Zeitgeist and its historical context. They do so by self-consciously deploying Hollywood genres and blending them with transgeneric modes/styles under the influence of renowned cinematic and literary inter-/transtextual works. The study examines the relationship between Balabanov's articulation of post-Soviet Russian identity vis-à-vis representations of dominant others, such as America, the Caucasus, Western Europe, Ukraine and, importantly, what the films portray as society's ruling criminal elites (primarily the New Russian 'gangsters').Combining the concepts of film genre with inter-/transtextuality within close film-textual analyses, the thesis focuses on the filmic texts and their visual, sound and narrative elements, which together indicate particular genre blends and their parabolic/allegorical potential. The analytical chapters investigate how these impinge upon the ideological orientation of Balabanov's approach to self/other representations. Film genre thus provides a method for exploring the articulations of an evolving post-Soviet Russian identity in Balabanov's work. The thesis reveals the director's self-consciously ambiguous perspectives on Russia's self, its own otherness in a globalised/ing world and the corrupting influences of the country's state-Socialist militarist past, previous and current military conflicts and the country's capitulation to the capitalist market. The application of a conceptual framework drawn from film genre studies enables the thesis to explore how these popular genre films become a platform for presentations of an internally divided Russian national self in its interactions with its various constitutive others, themselves characterised by diversity and inner heterogeneity. As a result, the thesis provides a long-overdue methodological interpretation of the most controversial segment of Balabanov's oeuvre and challenges received bi-partite views of this hitherto largely misrepresented auteur.
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Kim, Jiyeon. "A to Z of Superhero Movies." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1934.
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This project explores the question of originality and appropriation in the creative world by using mashup video as a medium. How can old repetitive stories be deconstructed and transformed into something new? I have created alphabetically ordered montages of shots/scenes containing words/letters from superhero films. By doing so, I do not provide a concrete answer to what is really original in today’s world, but rather encourage the audience to actively participate in the viewing experience of the carefully structured ontology and see the infinite possibility of the modern-day mashup culture.
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Stewart, Jacqueline Najuma. "Migrating to the movies : the emergence of black urban film culture, 1893-1920." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Reg_Diss_03.
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Olivo, Juliana Christina. "Where have all the queer kids gone?How Queers Got Abandoned by Film Then Got Adopted by The Cooler Sibling, TV." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620130222346199.
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Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.
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Kauklija, Natalie. "Masculinity in Children's Film : The Academy Award Winners." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74858.
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This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls.
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Goetomo, Desmond. "Hollywood redux: A comparative study of film remake performance in the foreign and domestic box office." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1888.
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In the eyes of Hollywood producers, film remakes are popular endeavors to undertake. Part of the logic behind remakes is that they will likely perform successfully in the domestic box office because of the tried-and-tested formula that was the remake’s source material as well as the pre-existing fanbase. In addition, over the past two decades the international box office, particularly countries like China and Russia, are overtaking the United States in generating box office revenue. Hence, with the increasing popularity of producing remakes, as well as the growing significance of foreign markets for the entertainment industry, I test whether the international share of the box office is higher for remakes compared to other types of films. I control for several standard variables including type of film, genre, production budget, critical review score, recency of film, and number of installments in the film franchise. In conclusion, I find that although film remakes do not achieve significantly higher foreign box office shares, factors like sequel films, the horror genre, production budget and critical review scores play a significantly positive role in determining foreign box office share, thus indicating the preferences of foreign film audiences.
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Raible, Tyler J. "Ink is the new black: An archetypal analysis of tattooed characters in film." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1445342844.
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Lindton, Fredrik, and Tobias Svensson. "Med protagonisten i fokus : En undersökning om kvinnliga karaktärsmodeller och hur de används i film." Thesis, Blekinge Tekniska Högskola, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-10970.
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Syftet med detta arbete är att utforska vad det är som gör att en protagonist i en film blirintressant. Med hjälp av boken Dramatiskt berättande av Mats Ödeen har vi fördjupat oss itermen dramaturgi eftersom huvudpersonen är en viktig del av den. Vi har valt att analyserafilmer där vi anser att karaktärerna är väl uppbyggda och intressanta utifrån dramaturgiska ochtekniska aspekter. De filmer som vi har valt att analysera är True Grit och Big Eyes. Analysen avTrue Grit fokuserar på protagonistens resa genom berättelsen. Analysen av Big Eyes kommer attfokusera på karaktärsrelationerna och dramat som uppstår under en av berättelsens vändpunkter.Avslutningsvis kommer vi att analysera vårt egna manus för att sedan jämföra och utforskakaraktärsmodeller med karaktärer från True Grit och Big Eyes.Med hjälp av en utvecklad metod lånad från artikeln From Antz to Titanic: A Students Guide toFilm Analysis identifierar vi de delar som formar en protagonist. På detta sätt kan vi själva se vaddet är som skapar en god karaktär för att sedan försöka skapa vår egen i slutproduktionen. Somavgränsning har vi valt att endast analysera kvinnliga protagonister. För att få en större förståelseför det vi har gjort och vad vi kan ändra på i framtiden kommer vi även att analysera vårt egetkortfilmsmanus.The purpose of this work is to explore what makes a protagonist in a film interesting. With thehelp of the book Dramatiskt berättande by Mats Ödeen we have become versed in the termdramaturgy. We have chosen to analyze films featuring characters that we think are wellconstructed and interesting based on dramaturgical and technical aspects. The films we havechosen to analyze are True Grit and Big Eyes. The analysis of True Grit focuses on theprotagonists journey through the story. The analysis of Big Eyes will focus on the relationshipsbetween characters during a mayor turningpoint. Finally we will analyze our own script and thencompare and explore the character models featuring characters from True Grit and Big Eyes.2With the help of a developed method borrowed from the article From Antz to Titanic: A StudentsGuide to Film Analysis , we identify the parts that influence the outcome of the protagonist. Inthis way we can see for ourselves what it actually is to creating a good character, and then beable to create our own, in the final production. The findings of this work is limited since we havechosen to analyze only female protagonists and not protagonists in general. To analyzeprotagonists from both sexes would have been too extensive for the time scope that has been setof for this project. We will also analyze our own short film script, because this will help us to geta better understanding of what we have done and what we can do differently in the future.
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Duricy, Michael P. "Mary in Film: an Analysis of Cinematic Presentations of the Virgin Mary from 1897-1999: a Theological Appraisal of a Socio-Cultural Reality." IMRI - Marian Library / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1427818757.
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McKendry, Rebekah W. "The Implementation and Emulation of Cult Movie Marketing." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4605.
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Cult media is often an area of media studies that is difficult to define. Cult media branches through numerous time periods, genres, and fandom patterns. Cult trends are also constantly evolving over time, changing from word-of-mouth and point-of-sale advertising to social networks and Internet culture. But have the rudimentary basics of how media cults develop and spread their message changed along with the progressing marketing presentation? This dissertation explores the definition of media cults, their history, and marketing styles over time, ultimately exploring the tools utilized to market cult media and examine how these tools are now synthetically applied to many media products in hopes of garnering a passionate cult audience.
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Monk, Ryan Michael. "Pretty/Violent: Cinematic Action Heroines From 2015 to 2020." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617382007581432.
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Lee, John Lance Rivero Potter Alicia. "Movies framing memories mass culture, film theory, and transnational identity in Alberto Fuguet's Las películas de mi vida /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2150.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Feb. 17, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages Spanish-American." Discipline: Romance Languages; Department/School: Romance Languages.
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Jauhola, Anna Elina. "Representation of investigative journalism on film: : Comparative textual analysis of two Hollywood movies’ approach to journalistic core values." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64836.
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This dissertation discusses the representation of investigative journalism in two Hollywood films produced between 2009 and 2015. The films in question are Spotlight (2015) and State of Play (2009). Investigative reporting and its practices are being discussed by using academic literature and previous research as the foundation of the study, followed by a discussion about the chosen research method: textual analysis. The textual analysis is conducted by concentrating specifically on three core journalistic practices of objectivity, use of sources and news values, and how these practices are represented in the films. The three core practices are teased out by using specific sequences from the movies in a form of images. The results of the analysis are then contrasted towards the existing literature discussed in the literature review. By using the means of textual analysis, the study found that both films are relying on stereotypes about journalism yet certain ‘reality’ about journalism can be found in these films. The journalists are in many cases shown as outcasts yet heroic figures who conduct thorough investigation and inform the public. In both films, the profession of investigative journalism is legitimized, and the journalists are depicted as the watchdogs of the society. Both movies lay much importance on the individual reporters and the investigation processes: processes that are rare in real newsrooms. This further enhances the mythic and overly positive, romanticized representation on journalism in films. As the study was based on textual analysis only, its nature was qualitative and interpretative. Future studies could include, yet not be limited to, adding another method and through this, to further deepen the research about journalism in films. Areas of research could include films produced in the 21st century and more specifically, films about journalism in the digital era.
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Björnsson, Julia, and Sigrid Andersson. "Using Movies in English Teaching." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36175.
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This research synthesis investigates the topic of movies in education, and explores advantages and challenges when using movies as a tool for language development in the English classroom. With the framework of language learning theories and methods, scholarly journal articles are synthesized to explore significant themes within this area. There are several advantages relating to the use of movies in language teaching, such as the benefits of multimodality, authentic language input, and knowledge construction. The challenges that might influence the benefits of the use of film as a teaching tool are, for instance, how to create tasks that make the viewing of movies more than just entertainment for learning language and knowledge development.
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McCormack, Colin Fawcett. "Women Who Kill: A Rhetorical Analysis of Female Killers in Film." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289347404.
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Davis, William. "To make the better film movies, women's clubs and the fight over censorship in the American South, 1907-1934 /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/davisw/williamdavis.pdf.
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Polyakov, Daniel M. "Estimating the Effects of Integrated Film Production on Box-Office Performance: Do Inhouse Effects Influence Studio Moguls?" Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/245.
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Each year well over one billion movie tickets are sold to an audience who knows very little about what they are getting themselves into. Why is it that despite the uncertainty, people return to the theaters to see what Hollywood has in store for them? In efforts to provide answers regarding the driving forces behind Hollywood’s blockbuster hits, this study takes into account the integration levels of the studios. Specifically, does a movie produced in-house at a large studio have a better chance of being a blockbuster hit than one which is outsourced to an independent production company? Further, I discuss the motivation behind the studios’ decision. While considering the embedded integration within the motion picture industry, this study aims to provide insight regarding the extent of internal studio productions and the effects of these films on the box-office.
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Edwards, Megan. "Unbound: Dismantling the Genre of Female Coming-of-Age Films." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/796.
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This is a reflection paper on the process of creating a multi-media art installation that dismantles traditional, patriarchal notions of female coming-of-age stories in film and presents alternative, feminist narratives to these stories through the voices of the women present within the author's own life.
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Aigner, Scott J. "The Power and Influence of Movies." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243793843.
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Cook, Joseph J. "Fantasies of Metal and Wires: Battling Corporate Hegemony and the Achievement of Posthuman Masculinity in Recent Superhero Cinema." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002909.
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Jeknavorian, Michael. "The Pessimism of Horror Cinema: A Comparative Study Between Modernist and Postmodernist Horror Cinema." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/2029.
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This qualitative thesis examines levels of pessimism as they relate to modern and postmodern horror cinema. Beyond assumed differences in levels of pessimism between the two genres, the study also examines implicit and explicit moralization of these categories. Specifically, the study questions if postmodern horror cinema's characteristic increase in pessimism is simply a change in the genre's convention, yet a change that is irrespective of either genre's capabilities to moralize. First, the study singularly examines the conventions of each genre as it relates to levels of pessimism. Second, the study discusses works that bridge the two genres. And third, the study speculates on the future of pessimism in postmodern horror cinema, specifically examining the genre's increased reliance on a combination of narrative and documentary techniques. In addition, this study uses content analysis as its methodological framework, whereby representative works of horror cinema (the data) are subjected to in-depth personal reading and textual analysis given the levels of pessimism between the two genres (the coding) via text immersion. Nonetheless, this study should be viewed more as a guided and informed exploration of certain characteristics regarding the genres and less of a defense since the data will not be quantified.
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Dyson, Francis. "Challenging assumptions about amateur film of the inter-war years : Ace Movies and the first generation of London based cine-clubs." Thesis, University of East Anglia, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658707.
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This thesis challenges assumptions about the democratization of amateur film-making in the United Kingdom. By identifying a body of serious amateur film-makers, the thesis broadens our understanding of amateur film-making in the interwar era. It demonstrates by way of a case study of one south London cine-club in the inter-war era, Ace Movies, that the history of the first generation of cine-clubs in the United Kingdom is more complex than is currently appreciated. Derided in British inter-war intellectual film journals for being little more than social clubs trying but failing to emulate commercial film production, the thesis identifies a creative response to British inter-war film culture that not only challenges perceptions about the quality of cine-club films but also the extent of intellectual engagement with that culture. The thesis engages with recent work on alternative film culture, more established works about the development of film culture and production in Britain in the inter-war period as well as studies of class and gender engagements with leisure. Drawing on a range of primary sources, including intellectual film journals, amateur film magazines and Ace Movies' surviving films, the thesis explores the social context in which the first cine-clubs in the United Kingdom emerged; identifies the relationship between the first generation of cine-clubs and alternative and mainstream film cultures; identifies in the studios developed by cine-clubs like Ace Movies a mode of film-making that is distinct from the home mode; and demonstrates that the distribution and exhibition practices of the first generation of cine-clubs were more ambitious than is currently appreciated.
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Strader, Laura K. "An Exploration in Funding Independent Film." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1410189827.
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Morin, Åsa. "Lärarrollen : En studie av yrkets framställning i populärkultur." Thesis, Linnéuniversitetet, Institutionen för pedagogik, psykologi och idrottsvetenskap, PPI, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23806.
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Syftet med uppsatsen är att undersöka hur lärarrollen karaktäriseras i filmer och TV-serier under 2000-talet. I undersökningen görs en framställning av karaktärernas utmärkande drag samt en indelning i kategorierna: The Good, The Saint, The Sad och The Bad. I resultatet ställs karaktärernas drag i förhållande till människosyn och etiksyn. Sist men inte minst dras några tänkbara slutsatser utifrån resultatet.The purpose of this essay is to highlight how the popular culture, focusing on film and TV-series during the 2000's, describes the characterization of the teachers' role. The survey gives a description of the character´s significant features and the character´s are placed in one of these four categories: The Good, The Saint, The Sad and The Bad. In the result, these features are set in relation to the vision of human beings and the vision of ethics. Last but not least, some conceivable conclusions are drawn from the result.
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Silva, Israel Machado da. "Dançando, sentindo, pensando, amando... : o consumo de filmes por críticos de cinema e cinéfilos em Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/127227.
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Os críticos de cinema são vistos como figuras próximas da elite cultural, gostando de filmes que a maior parte das pessoas não gosta e tendo um gosto que por vezes não se assemelha aos de seus consumidores. Os cinéfilos ou apaixonados por cinema são consumidores vorazes de filmes que buscam estar sempre assistindo uma produção, conversando sobre filmes, buscando informações. Nesse caso discute-se a possibilidade que esses mediadores entre produção e consumo e esses consumidores mais entusiasmados pelo cinema tenham práticas de consumo semelhantes e tenham visão semelhante sobre como apreciar esse produto. Com base em estudos de hierarquização cultural, consumo de cultura popular e de massa, crítica e cinefilia esse estudo busca compreender se os hábitos de consumo de críticos de cinema – considerados pelo Marketing como auxiliares na hora de um consumidor escolher um produto – e dos cinéfilos – consumidores em quantidade e variedade de filmes – compartilham das mesmas visões e se o que caracteriza um grupo caracteriza o outro ou não. Para responder isso fizemos 19 entrevistas em profundidade com críticos e 16 com cinéfilos na região de Porto Alegre. Há bastantes semelhanças na forma como tratam o cinema, em especial com relação à maneira como assistem ao filme e o quanto buscam de informações antes de ver um filme. Os críticos acreditam no seu papel como aumentando a conversa e reflexão sobre um filme, mas entendem que muitas vezes são utilizados como uma fonte de informação sobre o filme. Cinéfilos buscam menos entender de detalhes técnicos e possuem uma visão mais negativa com relação aos grandes lançamentos. Ambos os críticos de cinema e cinéfilos consomem de todos os tipos de filmes, reforçando o consumo onívoro por parte dos mesmos, mas os críticos sabem explicar mais porque veem todos os tipos de filmes. Em linhas gerais, os críticos de cinema precisam saber mais de filmes diversos porque precisam expor esse conhecimento ao passo que cinéfilos podem se aprofundar em um tipo de filme. Ambos os grupos acreditam que possuem uma experiência mais completa e que assistem filmes mais desafiadores do que a maioria das pessoas. Os cinéfilos são mais negativos em falar do tipo de filme que tem grande bilheteria e é apreciado por uma grande parte de espectadores. Por vezes esses cinéfilos consumiam os tipos de filmes mais autorais como forma de mostrar maior capital cultural frente a outras pessoas, mas por muitas vezes não eram capazes de usar esses conhecimentos em suas redes de relacionamentos.Film critics are many times seen as people close to cultural elite, enjoying movies that most people do not like and cultivating a taste that sometimes does not resemble those of their readers. Film buffs or passionate about film are voracious consumers of films always seeking to watch a motion picture, talking about movies, searching for information. In this paper we discuss the possibility that these mediators between production and consumption and those most enthusiastic consumers have similar cinema consumption practices and have similar views on how to enjoy this product. Drawing upon studies of cultural hierarchy, popular culture, criticism and cinephilia this study has the aim of understanding whether the habits of film critics - considered by Marketing as assistants for a consumer to choose a product - and film buffs or cinephiles - consumers in number and variety of films - share the same visions. To answer these questions we made 20 long interviews with critics and 16 long interviews with inhabitants of Porto Alegre area. There are many similarities in the way they treat the cinema, especially with respect to the way they watch the film and how much information they search before seeing a movie. Critics believe in its role as increasing the conversation and reflection on a movie, but they understand they are often used as an information source about the movie. Cinephiles search less understand technical details and have a more negative view in relation to major releases. Both film critics and cinephiles consume all kinds of movies, reinforcing the omnivorous consumption, but critics can explain more because they see all kinds of movies. In general, film critics need to know more about many films because they need to expose this knowledge while movie buffs can delve into a type of film. Both groups believe they have a richer experience and they watch most challenging films than others moviegoers. Film buffs are more negative in talking about the kind of movie that has big box office and is appreciated by a large number of spectators. Sometimes these cinephiles consumed these auteur movies as a way to show more cultural capital, but often they were not able to use this knowledge in their social networks.
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Rapp, Johansson Hanna, and Camilla Norling. "Psykisk sjukdom gestaltad i film utifrån ett genusperspektiv : En kritisk diskursanalys." Thesis, Högskolan i Gävle, Avdelningen för socialt arbete och psykologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-27440.
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Syftet med studien är att urskilja vilka diskurser som kan identifieras i filmer som gestaltar psykisk sjukdom. Vi ville även undersöka om det fanns skillnader i hur män och kvinnor med psykisk sjukdom skildrades i filmerna. För att uppfylla syftet valde vi att använda Faircloughs tredimensionella modell som verktyg när vi skulle analysera resultatet. Filmerna som valdes till studien är två vanliga spelfilmer som vem som helst kan ta del av, de är inte heller specifikt uttalade att behandla ämnet psykisk sjukdom ifrån ett visst perspektiv. Vi fann att det i dessa filmer fanns uppfattningar kring hur det är att vara psykiskt sjuk och att det fanns både skillnader och likheter mellan deras framställande av män och kvinnor med psykisk sjukdomThe purpose of this study is to distinguish which discourses can be identified in movies that portray mental illness. We also wanted to study whether there were differences in how men and women with mental illness were portrayed in the movies. In order to fulfill our intention we choose to use Fairclough’s three-dimensional model as a tool when analyzing the result. The movies that were chosen for the study are two common motion pictures that anyone can see, nor are they specifically intended to discuss the subject of mental illness from a certain perspective. We found that in these films there were perceptions of how it is to be mentally ill and that there were both differences and similarities between their portrayal of men and women with mental illness.
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Al, Balushi Iqbal Abdul Qadir. "Critical Semiotic Order Theory: The Misconstruction of Arab and Muslim Identities and Voices in Hollywood Movies." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/344217.
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In the age of multi-literacies, contemporary theories and devices are required to decipher increasingly complicated challenges which are presented by the digital technological revolution. Some of the existing approaches and frameworks of could inspire us but are not well equipped to address the complexities and multi-perspectives of the eccentric challenges that scholars face on diverse issues. Therefore, I present the critical semiotic order theory (CSOT) as a new eclectic theory to analyze discourse and moving and still images critically, semiotically and using systematic orders simultaneously.The theory has four hypotheses: 1) the positive and negative order hypothesis; 2) the zero value order hypothesis; 3) the chaos order hypothesis; 4) the semiotic indices order hypothesis. The theory was applied to three movies, and was successful in unearthing numerous perceptions and some were microscopic semiotic communicative indices and related them to polycentric Occidental ideologies.Hollywood has made over a thousand movies negatively stereotyping (NS) Arab/Muslim identities and voices (AMIVs) and the images in the vast majority are demeaning (Shaheen, 2009: 2). This research sets to find out whether the misconstruction of Arab/Muslim identities and voices (AMIVs) in three Hollywood movies are ordered, patterned, systematic, and related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments.The three movies showcase dozens of discursive microscopic critical semiotic orders and patterns of NS of AMIVs in discourse and still and moving image such as being: angry, dangerous, dirty, primitive, uncivilized, dishonest, cowards, fanatics, slaves, extremists, savages, liars, sorceress, killers, terrorists, mad dogs, child terrorists, suicide bombers, etc. The racism touches Arab/Muslims' (A/Ms) characteristics, personalities, races, cultures, traditions, histories, stories, folklores, costumes, images, etc.The analysis showed that there was a systematic pattern and order of NS of AMIVs within and across the three movies, and the NS is related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments for socio-cultural, socio-economic and socio-political investments in a vast complex web that some of it can go to hundreds of years in making. Nowadays, NS of AMIVs is done by many Westerners for various ideological agendas and investments, and they have appointed themselves as judge, jury and prosecutor.
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Svensson, Eric. "“In movies, ideas mask the lies and suggest that they are true” : En diskursanalys av hur IRA och RAF framställs i populärkulturella mediet film." Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-30551.
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Filmer skapar en historisk värld för dess åskådare. Att skapa en historisk värld är ett sätt att göra historia, detta utifrån samtidens ideologi, politik och kultur. Med denna uppsats undersöks fyra filmer om hur terroristorganisationerna IRA och RAF framställs, detta för att synliggöra den samtida diskursen under 1970- och 1990-talet då filmerna är producerade. Filmerna om IRA är; Hennessy (1975) och Some Mother’s Son (1996), filmerna om RAF är; The Third Generation (1979) och Den Demokratiske Terroristen (1992). Filmerna analyseras utifrån en textuell, kontextuell och sociohistorisk nivå. Den textuella nivån bygger på en strukturalistisk analys av hur terroristorganisationerna identifieras av oss åskådare, och den kontextuella nivån bygger i sin tur på en diskursanalys av hur filmerna speglar sin samtid. Vidare bygger den sociohistoriska nivån på en ideologiteori, för att vidare analysera huruvida filmerna förhåller sig med den rådande hegemonin eller förhåller sig till anti-hegemoniska idéer av samtiden. I resultatet finnes skillnader mellan de två filmerna om IRA, där filmen från 1970-talets förhåller sig kritiskt till organisationen, samtidigt som filmen från 1990-talet förhåller sig positiv till organisationens mål. Vad gäller filmerna om RAF förhåller sig båda filmerna sig snarare neutralt till organisationen, samtidigt som en förståelse visas gällande organisationens syfte. Dessa två filmer visar snarare en tydligare kritik till den samtida politiken i Västtyskland. Våldet är ett återkommande tema i samtliga filmer, där det både romantiseras men dessutom polariserar filmernas karaktärer mellan ond och god.
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Gustafsson, Henrik. "Out of Site : Landscape and Cultural Reflexivity in New Hollywood Cinema 1969-1974." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6790.
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This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.
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Clark, Caroline Clayton. "Film Families: The Portrayal of the Family in Teen Films from 1980 to 2007." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2699.pdf.
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Andersson, Sandra, and Martina Gunnarsson. "Två filmer om medeltiden- kunskap, förståelse och historiemedvetande." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30107.
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Syftet med detta arbete är att diskutera förhållandet mellan historisk spelfilm och historieundervisningen i den svenska skolan idag.Spelfilm har blivit en del av elevers vardag och historiker diskuterar i allt högre grad hur historia används i spelfilmer och hur detta påverkar vårt historiemedvetande. Möjligtvis är det så att detta bruk av historia leder till ett nytt historiemedvetande.Film kan ses som ett pedagogiskt redskap, en upplevelse som leder fram till intresse och kunskap. Vad detta arbete strävar mot är att undersöka om man kan lära sig något om det förflutna genom historisk spelfilm samt om historisk spelfilm kan utveckla elevers historiemedvetande.Arbetet tar sin utgångspunkt i ett projekt om historisk spelfilm genomfört med högstadie- och gymnasieelever på två skånska skolor. Med avstamp i visandet av två filmer om medeltiden; Robin Hood- Prince of Thieves och En riddares historia, diskuteras faktakunskap, förståelse och historiemedvetande.The purpose of this work is to discuss historic Hollywood movies in relation to the teaching of history in Swedish Schools today.Hollywood movies are in today’s society a part of the student’s everyday life and historians have increasingly come to discuss how history is used in these movies and how this affects our historic consciousness.Movies can be seen as pedagogical tools, an experience that will lead to an interest and a search for knowledge. What this paper strives to examine is if you can learn anything about the past by watching historic Hollywood movies and in extent if it can serve to develop student’s historic consciousness.Taking its beginning in a project about two movies dealing with the Middle Ages, Robin Hood- Prince of Thieves and A Knight’s tale, this paper discusses basic knowledge, comprehension and historic consciousness.
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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
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Поморцев, П. О., and P. O. Pomorcev. "Журналы о кино в условиях современного рынка (на примере "Искусство" кино и "Сеанс") : магистерская диссертация." Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94046.
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Объектом исследования являются концептуальные особенности современных журналов о кино в России. Предметом исследования является соответствие концепций журналов о кино запросам современного рынка. Цель магистерской диссертации – выявление эффективных с точки зрения современного рынка стратегий формирования контента, структуры и дизайна журналов о кино. В первой главе рассматриваются следующие аспекты: место кинематографа в современном мире, понятие, видовая классификация и концептуальные характеристики журналов о кино. В ходе изучения было проанализировано состояние журнального рынка в стране, рассмотрены отечественные издания о кино, определена доля этих изданий среди прочих журналов. Во второй главе проанализированы концептуальные особенности журналов «Сеанс» и «Искусство кино»: целевое назначение и читательский адрес, способы формирования контента и структуры, выбор дизайна и полиграфических особенностей, а также современные механизмы продвижения журналов. На основе проведенного анализа выявлены стратегии, позволяющие существовать журналам в условиях современного книжного рынка.The object of the research is the conceptual features of modern film magazines in Russia. The subject of the research is the correspondence of the concepts of cinema magazines to the demands of the modern market. The purpose of the master's thesis is to identify effective strategies for the formation of content, structure and design of film magazines from the point of view of the modern market. The first chapter discusses the following aspects: the place of cinema in the modern world, the concept, species classification and conceptual characteristics of film magazines. During the study, the state of the magazine market in the country was analyzed, domestic publications about the cinema were examined, the share of these publications among other magazines was determined. The second chapter analyzes the conceptual features of the Session and Art of Cinema magazines: the purpose and readership address, ways of creating content and structure, the choice of design and printing features, as well as modern mechanisms for promoting magazines. Based on the analysis, strategies have been identified that allow journals to exist in the modern book market.
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Sanchez, Tani Dianca. "Race and the Matrix Movie Trilogy." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/215411.
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Using a close textual and contextual analysis, I trace themes of gender and race in the Matrix trilogy, arguing for the presence of a parallel, embedded filmic narrative, one that neatly aligns with African-American critical traditions affirming subjugated ideologies, knowledges, communities and forms. Decoding the films through the lenses of race, womanist, film studies and cultural studies theories, I explore this signified, covert storyline through phenotypes, casting choices, plot twists, and extra filmic events. In this dissertation project, I argue that their preponderance, consistency, and coherence are evidence of deliberate commentary. I further claim that that the trilogy can be reasonably understood as a historically motivated critique of Whiteness and White supremacy, offering references to American slavery and ideologies, as well as to cross-racial ideological domination and collective, coalitional and revolutionary change. Since long standing racial and gender understandings (along with their attendant domination and oppression) persist, examining popular films with transformed constructions is useful in supporting frameworks for conceptual change.
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Forsberg, Marcus. "Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5358.
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I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.
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Fernandes, Helmut Paulus Kleinsorgen Paes Ferreira. "Etnografias de si: a emergência dos filmes pessoais." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1026.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorAo enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador.
Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film
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Seez, Marina, and Dajana Bubic. "Konsumenters attityd mot varumärken : En studie om produktplacering." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32840.
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Wetherbee, Benjamin James. "Toward a Rhetoric of Film: Theory and Classroom Praxis." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313119045.
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Vujisic, Anna, and Catalina Avila. "Svenska filmer: En spegelbild av det svenska samhället? : En kvalitativ studie om framställning av minoritetsgrupper." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-38883.
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Denna studie undersöker minoritetsgruppers representation och framställning i svenska filmer. De studieobjekt som har analyserats är En underbar jävla jul och Sällskapsresan 2. Dessa filmer utkom i två olika tidsperioder, den ena 2015 (En underbar jävla jul) och den andra 1985 (Sällskapsresan 2). Syftet är att undersöka hur minoritetsgruppers framställs i ett medium som är avsett för underhållning, och vad som händer när de olika systemen av maktförhållanden och strukturer möts under en och samma arena. Målet är att bidra till en ökad uppmärksamhet och engagemang kring fenomenet. Studiens tillvägagångssätt grundar sig i diskurspsykologi som teori och metod, samt intersektionalitet som teori. Genom att kombinera två stycken teorier kan studieobjekten analyseras på ett djupare plan då de olika teorierna kompletterar varandra. Allt material som hämtades från studieobjekten transkriberades för att sedan analyseras. Analysen är uppdelad i fyra olika teman; könsroller och sexualitet, klass, politik och etnicitet. Tillsammans bidrar dessa teman till att studiens frågeställningar besvaras. Studiens resultat påvisade att minoritetsgrupper representeras i olika grad och att de ofta tilldelas stereotypa roller. Resultatet visade att svensk film har genomgått en förändring över åren, och att den idag innehar en mer öppen dialog gällande samhällsrelaterade frågor.This study examines the portrayal of minority groups shown in swedish films. The chosen objects are En underbar jävla jul (2015) and Sällskapsresan 2 (1985). The purpose of the study is to analyze how minority groups are represented in a forum whose main desire is to entertain rather than inform and to examine what occurs when different structures of authorities collide. The study’s main ambition is to illuminate and exposure this phenomenon. The study will apply discursive psychology as its method and theory along with intersectionality. The reason behind is solely to help us get a better understanding and deepen our knowledge. The combination of the aforementioned theories will provide a unique outlook for the analysis. All material collected from the films were at first hand transcribed and later analyzed. The analyses was divided into four different themes; gender roles and sexuality, class, politics and ethnicity. The four themes will contribute the answers of the study’s main questions. The results concluded that minority groups were often given stereotypic features as well as being given little to no exposure in films. However the results also showed that swedish movies are evolving and is being more open to discuss and display what once was considered prohibited subjects.
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Enting, Staffan. "Politisk kommunikation genom film : En studie kring hur den realpolitiska agendan speglas i den moderna spelfilmen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76679.
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The aim of this study is to explore the correlation between contemporary political agenda and film themes, how and if the antagonists’ behavior is depicted in relation to whom the political opponent was at the time of the making of the film. The literature is concurrent: movies are used to spread norms and political messages. There are several examples; during the Cold War people and antagonist behavior could clearly be linked to the Soviet Union. During the Gulf War the antagonists was often depicted as Arabic terrorists, but after the war the villain character became unclear and was often represented by natural disasters, organized crime, corruption etc. Following the September 11, 2001 terrorist attacks on the United States, Arabic terrorists once again became the new antagonists. The film selection is made out of the five most profitable movies (adjusted for inflation) that take place in our world that was produced during the Cold War, and five films that fill the same criteria that was produced after the Cold War. My goal was to see if I could see a correlation between the political agenda at the time of the making of the movie, how the antagonists are portrayed and what political themes were addressed. Unexpectedly, I found no such correlation in my film selection. However, I could see similarities in certain genres, such as action, thrillers and adventure movies, that support the theories in the literature.Jag studerar huruvida man kan dra en parallell mellan den rådande politiska agendan och filmens politiska teman samt hur skurkgestaltningen ter sig i relation till vem den politiska motståndaren var då filmen gjordes. Litteraturen är tydlig kring att film används för att sprida normer och politiska budskap. Det finns flera exempel kring hur man under kalla kriget främst hade Sovjet eller personer och beteenden som tydligt kunde kopplas till Sovjet som skurkar. Efter kalla kriget, i samband med Gulfkriget, blev det under en tid araber för att därefter vara en mer oklar skurkroll (ofta naturkatastrofer, organiserad brottslighet, korruption, etc.). Efter terrorangreppen mot USA den 11:e september 2001 fick man återigen en tydlig motståndare och den arabiske terroristen blev den nya antagonisten. I min studie utgår jag från de fem filmer som drog in mest pengar (justerat för inflation), som utspelar sig i vår värld och som kom under kalla kriget, samt de fem filmer inom samma kategorier som kom därefter. Detta för att se om jag kan se en tydlig parallell mellan den rådande politiska agendan och hur skurkarna gestaltas samt vilka politiska teman som tas upp. Oväntat nog finner jag att ingen sådan tydlig koppling finns i de exemplen. Jag finner liknande paralleller inom vissa genres, såsom actionfilm, thrillers och äventyrsfilm, men ingen direkt koppling till filmen generellt kan göras.
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Cho, Ju-eun. "Impact de l'internet sur le cinéma : avec des exemples de trois pays : la France, les Etats-Unis et la Corée du Sud." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080002.
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Depuis les années quatre-vingt-dix, la propagation de l’internet et de ses périphériques a permis à de nombreux producteurs, distributeurs et spectateurs de cinéma de modifier leurs attitudes vis-à-vis des films. Notre travail a consisté à démontrer que les caractères techniques de l’internet, ainsi que l’hypertextualité et l’interactivité, expliquent les changements des activités liées au cinéma et au film même. Bien que la réception de l’internet de la part du public ait été extraordinairement rapide, la part du marché du film en ligne n’est cependant pas encore notable. Nonobstant cela, la croissance de la génération numérique et la simplification des techniques nous encouragent à confirmer le potentiel de l’internet. La filière de la distribution est davantage influencée par l’internet. La concurrence s’est multipliée et l’évolution de la chronologie des médias était inévitable. Malgré la menace de la piraterie et la formation du réseau interne des méga-médias, il semble que l’internet soit un canal on ne peut plus utile en ce qui concerne les films indépendants. Dans la production, toutes les étapes deviennent participatives. L’interaction entre les cinéastes et les spectateurs et entre ceux-ci et les oeuvres a donné lieu aux films participatifs ainsi que les films en forme de multi-histoires, les films de jeu et les films de relais. Comme l’a montré l’étude des caractères techniques de l’internet, la producion et la distribution ainsi que le visionnage des films sont influencés par l’internet au sens de l’instantanéité et de la massification – qui peut se traduire par la participation du public –. Ces deux principaux effets n’ont pas produit un changement radical dans le domaine mais une transformation qui est, à notre sens, on ne peut plus significativeSince the nineties, the spread of the internet and its devices has enabled many producers, distributors and moviegoers to change their attitudes towards movies. Our work has focused on demonstrating that the technical characteristics of the internet like the easy access, the hypertextuality and the interactivity can explain the changes noticed in the activities linked to the cinematographic field and the film itself.Although the reception of the internet by the public is extraordinarily fast, the market share of online film is still not really significant. Nevertheless, the growth of the digital generation and the simplification of techniques encourage us to believe in the potential of the internet.The distribution sector is the most influenced by the internet. The increased competition and the evolution of media chronology were inevitable. Despite the threat of easy piracy and the formation of the internal network of mega-media, it seems obvious that the internet will be a useful channel for independent films.Concerning the production area, all stages become participatory. The interaction between filmmakers and the audience and between the future audience and the works created new modes of movies as multi-stories movie, game movies, relay movies and movies with subsidiary texts.Glimpsed with the evocation of the technical features of the internet, the production and the distribution and the viewing of films are influenced by the internet in the sense of a popularization – which can result in public participation – and of immediacy. These two main effects were not synonym with a radical change in the area but, according to us, with a significant transformation in the cinematographic field
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Lackan, Ivana. "A Woman's Territory: Female Protagonists in 21st Century Road Movie–Based Fairy Tale Films." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34279.
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This paper closely examines fairy tale films with road movie components, in particular those films featuring female protagonists. The study’s objective is twofold: first, to further develop existing research on the road movie by exploring one of the lesser known constituents of this broad genre and, second, to address gaps in scholarly literature on road movies when it comes to themes in female-led trips and the characterization of travelling females.
Through a detailed analysis of the journeys of female characters in recent voyage-oriented fairy tale films—Peter Pan (P.J. Hogan, 2003), Alice in Wonderland (Tim Burton, 2010) and Tangled (Byron Howard and Nathan Greno, 2010)—the investigation shows that these new heroines significantly differ from those of old. Their travels are portrayed as being less difficult, and the traits that they exhibit while on the road, namely fearlessness, rationality and an undying optimism, are rather favourable when compared to those exhibited by former road heroines.
Although these protagonists still face characters who wish to impede their movement away from a domestic setting, it is demonstrated that the protagonists are ultimately successful in not only acquiring power in the surroundings that they find themselves in, but also in carrying over their goals and dreams to their own worlds upon their return, privileges that most former road heroines did not have. Ultimately, the study shows that females can be as efficient travellers as males, and in some cases are portrayed as even more competent than their male counterparts.
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DeGalan, Anna Jean. "Crescendos of the Caped Crusaders: An Evolutionary Study of Soundtracks From DC Comics' Superheroes." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1598268218822254.
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Moore, Francesca. "Nana Stories." Scholarship @ Claremont, 2007. http://scholarship.claremont.edu/scripps_theses/32.
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The film consists of images from home movies of Nana, her daughter (Francesca's mother), and Francesca, and their extended family at gatherings, visits, and vacations, and of Nana in her last years. Nana emigrated from Italy, as did other relatives. The home movies are in black and white or color. Images from photographs in black and white or color, and images of birth, marriage, and death certificates are included. Francesca and her mother speculate on Nana's life based on the contradictory information they have from these documents and from family members. The film ends with the words "In memoriam October 14, 1925 – March 20, 2007" and it is Francesca's wish that Nana found happiness in her life.
The film begins with the quote: "There are three sides to every story. Your side, my side, and the truth. And no one is lying. Memories shared serve each differently." Robert Evans.
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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.
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Carlsson, Gras Emelie. "REEL ME : När home movies flyttar hemifrån – Om vloggar som en del i filmhistorien." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66014.
Full textAbstract:
Amatörfilmandet har med digital teknik fått en explosionsartad utvecklig och ett offentligt rum genom internet. Om amatörfilmer i hem, home movies, främst skapades av familjefadern, så har ny teknik gett upphov till nya grupper av filmskapare då många är unga kvinnor eller barn. Ny teknik har också bidragit till uppluckrade gränser mellan det offentliga och privata samt fört amatörfilmaren närmare den professionella filmskaparen. På YouTube har ett nytt filmyrke vuxit fram, en YouTuber eller vloggare som producerar digitala filmer, även kallade videor eller vloggar. Denna uppsats undersöker ett antal populära vloggar i Sverige på YouTube och sätter dessa i ett filmhistoriskt sammanhang samt visar hur dessa uttryck kan utmana ett mer traditionellt filmskapande.
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ARLANCH, FRANCESCO. "La struttura drammaturgica del film biografico nel cinema di Hollywood e nella televisione italiana." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/126.
Full textAbstract:
La tesi indaga le caratteristiche strutturali dei film di genere biografico prodotti nel contesto del cinema statunitense e della televisione italiana. Riconosciuto nel fatto che il personaggio protagonista è costruito ad imitazione della persona realmente esistita di cui porta il nome l'aspetto identificativo superficiale del film biografico, viene proposta la seguente, nuova interpretazione: quello biografico è un film la cui struttura drammaturgica esprime sulla forma di vita del proprio personaggio protagonista un giudizio di redenzione o di dannazione.The dissertation explores the distinctive structural features of the biographical pictures produced by the U.S. film industry and by the Italian TV. Assuming that a biographical picture is a film that dramatizes the life of an actual person, we propose here a new interpretation: in a biographical picture the dramatic structure expresses a judgement of redemption or damnation on the protagonist and his life story.