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Dissertations / Theses on the topic 'Film styles'
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Choate, Christina Shirley. "How different styles of nature film alter our perception of wildlife." Thesis, Montana State University, 2012. http://etd.lib.montana.edu/etd/2012/choate/ChoateC0512.pdf.
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Different styles of natural history film evoke distinct feelings and emotions about wild animals which viewers use as a basis for their perception of wildlife. I define three categories of nature film which reflect varying degrees of human-animal interaction, anthropomorphism and aesthetics: the testimonial, explanatory and non-verbal styles. Although each one is limited in its ability to represent wildlife accurately, it is important to realize that they all show animals from different perspectives (from most to least human-centered, respectively). Given that the majority of people today gain most of their knowledge about wildlife from natural history programs, it is critical for viewers and filmmakers to understand the impact of these films on society--as both emotional and intellectual conduits into the natural world.
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Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.
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Warne, Fiona Jane. "Hybrid French choreography for the screen : liasons between dance and film styles." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288421.
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McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.
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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.
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Shaw, Neil. "Culture and gentrification on upper Long street : a study of Long street's evolution and contemporary incarnation, with a look at documentary styles and the cinematic city." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7972.
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Hamilton, Maia D. "The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.
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Guétin, Marie-Laure. "Le XIXe siècle dans le cinéma de Luchino Visconti : scènes et poétique du décor." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100151.
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Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à son extension la plus large : de l’espace au temps, du plus matériel au moins évidemment perceptible, du visuel au sonore. Le décor est cette scène, à la plasticité et la malléabilité remarquables, sur laquelle se met en place une poétique indissociable des perspectives temporelles. Comme scène, le décor est là où l’émergence du XIXe se noue, se joue et se structure selon trois niveaux : l’historicité, le drame, le temps. De la reconstitution historique à l’imagerie du siècle, des rhétoriques XIXe à la dramaturgie passionnelle, de la mise en scène du temps aux décors-temps en passant par les fictions et la corporéité du décor : voilà vers quelle poétique les scènes du décor acheminent le spectateur. Le distendant jusqu’à ses limites les plus élargies (le temps et ses mouvements, son anachronisme et sa fragmentation, ses fractures et sa musicalité), la réflexion aborde pour finir le décor XIXe comme cette forme cinématographique aspirant à une autre visibilité : telle une présence qui « inquiète le regard » (D. Païni). Cette approche du décor permet alors de repenser le travail de Visconti dans la modernitéThis doctoral thesis aims at highlighting aesthetic and theoretical aspects of film sets, throughout the work of Luchino Visconti. Five great costume films taking place in the late nineteenth century, between 1860 and 1911, complemented by the reflexive horizon of theatre stagings, constitute the corpus of the analysis. Descriptive, historical, and dramatic features of the film sets are identified and highlighted. The notion of scene enables us to consider the nineteenth century sets through a broad spatial and temporal scope; from the more substantial to the least clearly perceptible; from vision to audition. The film set is considered as a stage, with its characteristic plasticity and malleability, whereby the poetics is set up, indivisible from temporal perspectives. As a stage, the film set is the place where the emergence of the nineteenth century gets structured according to three levels: historicity, drama, and time. From the reconstruction of history to the imagery of the century, from the nineteenth century’s rhetoricity to the passionate drama, from the staging of time to temporal-settings, through film sets’ fictions and corporeality: this is the poetics towards which film sets’ scenes carry on the viewer. Distending the film set to its most extended limits (its time and movements, its anachronism and fragmentation, its fractures and musicality), towards the end, the reflection tackles the nineteenth century film sets as a cinematographic form aspiring to a new type of visibility — similar to a presence which "worries the sight" (D. Païni). This wide approach of the film set enables us to analyse Visconti’s work through the lens of modernity
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Enckell, Cajsa. "Representationen av maskulinitet i Guccis reklamfilm Mémoire d'une Odeur – En studie av Guccis reklamfilm med Harry Style som frontperson." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23871.
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Den reklam vi ser idag är oftast uppbyggd på stereotyper som leder till ensidiga representationer av genus och blir därför problematiskt i skapandet av reklam. I den här uppsatsen undersöks Guccis reklamfilm för deras parfym Mémoire d’une Odeur (2019) där Harry Styles är frontperson, genom en film semiotisk analys där maskulinitet utifrån representation av kropp och aktivitet är i fokus. Resultatet av den film semiotiska analysen av reklamfilmen visar hur Gucci skapar unisex representation av maskulinitet genom att leka med feminina och maskulina koder där den visualiserade manligheten tar avstamp i en mansbild från 1970-talets hippie stereotyp. Guccis representation av maskulinitet bryter därför mot den stereotypa maskuliniteten som brukar gestaltas i reklam. Avslutningsvis diskuteras framtiden för maskulina representationer.The advertising we see today is usually based on stereotypes that lead to one-sided representations of gender and therefore becomes problematic in the creation of advertising. This essay examines Gucci's perfume commercial Mémoire d'une Odeur (2019) in which Harry Styles is the face out for. Through a film semiotic analysis, focusing on masculinity based on representation of body and activity, the result of the film semiotic analysis of the commercial shows how Gucci creates a unisex representation of masculinity by mixing feminine and masculine codes. The visualized masculinity takes off in a masculinity from the 1970s hippie stereotype. Gucci's representation of masculinity therefore violates the stereotypical masculinity that is usually embodied in advertising. In the ending of the essay, the future of masculine representations in commercials are discussed.
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Pigott, Michael. "Time and film style." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3780/.
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This thesis proposes that the temporality of the moving image is not just its basic condition, but also an alterable stylistic parameter. By analysing three broad stylistic categories of cinema - Classical Continuity-editing, Montage, and Long Take - it is demonstrated that the time of a sequence or shot operates as an active element within the formal fabric of the work. Beyond this, it shows that these film styles may in fact be defined by the characteristic ways in which they treat time. Methodologically, it adapts concepts from the philosophies of Gilles Deleuze, Henri Bergson and Hans Georg Gadamer, fusing them with close textual analysis to allow the theory to grow around the practical instance of its object. One of the primary goals is to establish a critical idiom capable of dealing appropriately and sympathetically with this neglected aspect of film aesthetics, to uncover a suitable vocabulary for talking about the expressive use of time in cinema. This study contributes to the existing body of research on cinematic time (which is primarily concerned with ontology and ideology) by addressing the distinct lack of critical and theoretical work that engages with the temporality of cinema at the microscopic level of the moment to moment passage of a scene, that is, the temporal stylistics of cinema.
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Hardy, Jennifer. "Bollywood style: the melodramatic lens." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21168.
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Thesis (M.F.A.)The purpose of this project is to redefine the word "Bollywood" as more than a regional or cultural cinema, focusing instead on the unique style of the films that is often neglected or dismissed by film critics. The aspects explored are the development of Bollywood style from 1995 to the mid 2000s as exhibited by the films Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Dhoom (2004), and a subsequent development of a reflexive neo-Bollywood style beginning in the mid-2000s, exhibited by the films Rab Ne Bana Di Jodi (2008), Dhoom 2 (2006), and Chennai Express (2013). Close analysis of these films shows an aesthetic of melodrama that applies not only to the narrative of the films but more noticeably and importantly to the filmic style of the narrative and the subsequent themes that emerge. To further illustrate Bollywood as a style, the project analyzes Bollywood’s stylistic influences outside of India, including readings of television shows Smash and Glee, and films Moulin Rouge! (2001), Strictly Ballroom (1992), and Chicago (2002). This project aims to vindicate Bollywood as a complex artistic expression that privileges an emotional reality over a mimetic reality.
2031-01-01
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Rosenblatt, Jacob A. "Cinematic Style: The Effects of Technology." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1277815461.
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Scovell, Adam. "The audio-visuality of transcendental style in film." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/24281/.
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Transcendental style in film is an expression of spiritual, ineffable and even holy subjects, often conveyed via a reduction of cinematic aesthetics and further aided by narratives of hardship. In audio-visual studies, the concept of the transcendental has been a consistent presence, especially in descriptive language concerned with the use of music in film, due in part to music’s abstract, ineffable form. Film studies, on the other hand, have been more concerned with the notion of the transcendental as a reception effect, linked to an aesthetic style rather than simply a formal outcome. In this thesis, the various aspects of a transcendental style will be addressed within a cinematic context with two aims: • To highlight a neglect of aural analysis within the cinematic realm of transcendental studies. • To critique the etymological and philosophical assumptions regarding the transcendental elements found in the language of audio-visual scholarship. The labelling of something as transcendental is simultaneously distinctive and vague. This duality allows writers to identify aspects of audio-visual work that are ultimately beyond the reach of language-based communication. The word has complex connotations within a variety of different philosophical and theological movements, and the use within cinematic academia - as a descriptor of an aesthetic style - is equally as complex. In his 1972 work, Transcendental Style in Film, Paul Schrader suggested a transcendental potential within cinema through discussing a number of temporal means and aesthetics. Music is mostly absent from his analysis, however. Film supposedly needs to move from "abundance" to "stasis" and this is often suggested by the reduction of the general cinematic style and the removal of music due to its editorial intonation. I argue, on the contrary, that music and sound used in specific ways can inform the viewer of transcendental qualities and create both old and new ways of expressing transcendence. What my thesis will show is how this is achieved by a number of different filmmakers with emphasis on their aural character as well as the aural potential already found within previous theorisations of the style.
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Rickert, Markus. "Inhaltsbasierte Analyse und Segmentierung narrativer, audiovisueller Medien." Doctoral thesis, Universitätsbibliothek Chemnitz, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-226724.
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Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führenAudiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors
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Spicer, Paul. "The films of Kenji Mizoguchi : authorship and vernacular style." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/the-films-of-kenji-mizoguchi(8f7ad266-b2bd-4199-acbd-cba4263b6c89).html.
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This thesis explores the work of Japanese film-maker Mizoguchi Kenji (1898-1956) through an analysis of key film texts in their social, cultural and industrial contexts. Since coming to international prominence in the 1950s, Mizoguchi has been placed in western accounts of Japanese cinema, alongside Kurosawa and Ozu, as one of that country’s most celebrated auteurs. As we shall see, this positioning has tended to cast Mizoguchi in a certain critical light which has subsequently been challenged from different perspectives. Mizoguchi’s film career, which began in 1923, spanned the silent era and sound films, continued under Imperialist rule (1930-1945) and the American occupation (1945-1952), but gained world attention only in the last four years of his life. His life and films have since been the subject of academic studies, festival retrospectives and television documentaries, both in Japan and in the west (notably the United States). He is acclaimed, like Federico Fellini, Satyajit Ray and Ingmar Bergman, as one of the handful of film-makers who have had a profound influence upon world cinema, although in the west his reputation has remained under the shadow of his better-known countrymen Kurosawa and Ozu. This study will seek to critique rather than celebrate that legacy. But Mizoguchi’s career as a whole also has much to tell us about the history of Japanese cinema and its relationship to culture and society. And in re-focussing critical attention upon the context which informed his work, this thesis will offer a re-appraisal of his auteurist status, and suggest new ways of considering the issue of authorship.
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Waddell, Calum. "Defining a cinematic movement and style : the American exploitation film." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=206597.
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This thesis defines the term exploitation as it relates to the style of a number of key American film titles that emerged during the 1960s and 1970s, concurrent with the fall of cinema censorship. These productions presented spectacles of convincing corporeality and the adaptation of film techniques which may be labelled ‘realist'. The key films of this thesis will be argued to comprise a cinematic movement that can be labelled exploitation. The first part of this thesis will outline the time period of this study and the methodology used; based upon the historical and comparative writing on the classic Hollywood era of cinema initiated by David Bordwell. Drawing upon Bordwell and other scholars who have engaged with what the Academy recognises as the ‘new film history' (such as Eric Schaefer and his discussion of the classic exploitation film), I will introduce the work of André Bazin and argue that his writing on cinema realism can be attributed and understood as a style of filmmaking. This style is appropriated by exploitation insofar as similar, minimalist representations of modernity were brought to American cinema, albeit presented in generic narratives. The second part of this thesis will look at each of the key exploitation genres in detail: blaxploitation, exploitation-horror and sexploitation. I will engage with previous writing on what may be deemed ‘marginal' cinema and argue that each of the genres discussed in this thesis contain films that approach taboo subject matter with an oppositional approach to their Hollywood ‘other'. This point is especially relevant insofar as exploitation reveals images of physical horror and sexuality that the mainstream hides. In conclusion, this thesis hopes to bring a more contained and studied look at ‘marginal' cinema to the Academy and to give a definition of exploitation that will influence and inspire future studies of the form.
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Stadler, Pierre. "Private Equity Investments - Styles and Optimal Portfolios." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02214336001/$FILE/02214336001.pdf.
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Laisney, Simon. "Quel style de montage pour le Nouvel Hollywood ?" Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030158.
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En 1967, sous l’influence du jeune cinéma européen, Hollywood accède à son tour à la modernité : le « Vieil Hollywood » laisse place à un « Nouvel Hollywood ». Ce mouvement de renouvellement du cinéma américain, symboliquement inauguré par Bonnie and Clyde d’Arthur Penn et Le lauréat de Mike Nichols, est, explique-t-on, le fait d’une génération nouvelle de cinéastes, parmi lesquels, outre Penn et Nichols, Francis Ford Coppola, Brian De Palma, George Lucas, William Friedkin,Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson, Hal Ashby... Il est aussi le fait d’une génération nouvelle de monteurs, qui, en complicité avec leurs réalisateurs, éprouvèrent de nouvelles formes d’expressivité esthétique et narrative, sans craindre de contrevenir aux règles conventionnelles instituées par leurs aînés ; parfois même en réaction contre ces règles. On peut notamment citer, parmi ces fidèles et précieux collaborateurs, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, ou encore Ralph Rosenblum. Nous veillons à déterminer, dans cette thèse, la part de responsabilité, tant collective qu’individuelle, de cette nouvelle génération de monteurs dans le mouvement de renouvellement esthétique du cinéma américain. Et, au-delà des personnes, d’apprécier ce style de montage néohollywoodien, d’évaluer son importance dans la constitution du style neuf des films américains des années 1970, de même que l’étendue de ses innovationsIn 1967, under the influence of European art films, Hollywood underwent important changes in the course of the 1960s : « Old Hollywood » was taken over by a « New Hollywood ». This process of renewal of American cinema, which has been symbolically launched by Arthur Penn’s Bonnie and Clyde and Mike Nichols’ The Graduate, is due, it has been said, to the arrival of a new – mostly film-school educated – generation of filmmakers, such as Francis Ford Coppola, Brian De Palma,George Lucas, William Friedkin, Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson or Hal Ashby. It is also due to the arrival of a new generation of film editors who did not fear to challenge the doctrine of classical Hollywood editing and break the established rules in order to take a chance and try new ways of telling a story. These films editors are, amongst others, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, or Ralph Rosenblum. Our thesis examines the share of responsability, on both a collective and individual level, of this new generation of film editors in this process of renewal of American cinema in the 1960s and 1970’s. Its goal is, more generally, to determine and appreciate this new editing style, realize its importance and its influence on the Hollywood Renaissance style, as well as the wide range of its innovations
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Vergé, Emilie. "Une étude stylistique du cinéma de Stan Brakhage (1952-2003)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030154.
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Cette thèse monographique, consacrée à l'oeuvre filmique du cinéaste expérimental Stan Brakhage, constitue un apport en histoire et en esthétique du cinéma. Une recherche en archives a permis l'analyse de la filmographie complète du cinéaste composée de près de quatre cent films réalisés entre 1952 et 2003, et l'étude de ses archives non-film. Cette thèse propose une synthèse de ces analyses, dans une étude stylistique de l'oeuvre filmique du cinéaste.L'étude stylistique est fondée sur des analyses esthétiques, formelles et iconographiques.Un style naturaliste a pu être identifié et défini, avec en particulier les théories du naturalisme de Worringer dans Abstraction et Einfühlung, de Kris dans Le Style rustique, et de Zola avec la méthode expérimentale, réactualisées avec les théories du modernisme dont de Greenberg, et adaptées aux formes cinématographiques avec les théories d'Eisenstein et de Brakhage. Cette thèse stylistique prétend donner une synthèse d'ensemble monographiqueThis monographic thesis, dedicated to the film work of the experimental film-maker Stan Brakhage, constitutes a contribution in film history and aesthetics. A research in archives allowed the analysis of the complete filmography of the film-maker composed of about four hundred films made between 1952 and 2003, and the study of its non-film archives. This thesis provides a synthesis of these analyses, in a stylistic study of the film work of the film-maker.Stylistic study is founded on aesthetic, formalist and iconographic analyses. A naturalist style could be identified and defined, with particularly the theories of the naturalism byWorringer in Abstraction and Einfühlung, by Kris on rustic style, and by Zola with experimentalmethod, updated with the theories of modernism including by Greenberg, and adapted to filmforms with the theories of Eisenstein and Brakhage. This stylistic thesis pretends to give anoverall monographic synthesis
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Flanagan, Matthew. "'Slow cinema' : temporality and style in contemporary art and experimental film." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4432.
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This thesis explores a stylistic current within contemporary art and experimental film that will be referred to here as 'slow cinema'. This type of cinema privileges a number of distinct and recognisable tropes: the application of the long take, an undramatic narrative or non-narrative structure, a tendency toward realist or hyperrealist representation, and a pronounced stillness of composition and visual content. This thesis details the evolution of slow cinema over the course of the last three decades (in line with both dominant and marginal cultural transitions under neoliberalism), and places its aesthetics in the context of relevant innovations in post-war modern and experimental film. The first chapter outlines the contemporary shape of 'slow cinema' by describing its most typical characteristics (in relation to narrativity and modes of realism); the second chapter focuses on the device of the sequence shot and the continuing relevance of the criticism of André Bazin in relation to contemporary durational film; the third chapter situates slow cinema in the context of an opposition to the compression of temporality in neoliberal culture; and the fourth chapter encompasses a study of two recent tributes to the cinema of Yasujiro Ozu, followed by an extended reflection on the digital regime of contemporary film production. As a whole, this thesis aims to map a set of unique aesthetic strategies across a number of post-war and contemporary durational films, and to place the field of 'slow cinema' within a suitably broad framework of related film-historical, cultural and socioeconomic trends.
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Smiles, Tracy. "Student Engagement Within Peer-led Literature Circles: Exploring the Thought Styles of Adolescents." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1203%5F1%5Fm.pdf&type=application/pdf.
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Han, Lei. "Pixel Noir: a style for cinematic computer-generated lighting." Texas A&M University, 2004. http://hdl.handle.net/1969.1/3048.
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This thesis provides an example of creating a special cinematic style of Film Noir
in computer-generated animation. The thesis is designed as a discussion of how a
unique lighting style in computer graphics can be used to enhance visual storytelling
for cinematic purposes. It provides digital filmmakers a beginning guide to deal with
various lighting situations, and with cinematic lighting in 3D production.
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Carta, Silvio. "Documentary film, observational style and postmodern anthopology in Sardinia : a visual anthropology." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3674/.
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This study explores issues of technique, methodology and style in ethnographic/documentary films, with a focus on Sardinia. How are cultural realities constructed in documentary and ethnographic films? In what ways do practical filmmaking strategies reflect wider epistemological questions and ethical concerns? The thesis examines the general stylistic principles that have guided the making of a substantial body of documentary films about Sardinia. Attention has been paid to a range of different methods used by a select number of documentary and ethnographic filmmakers, covering important theoretical points on the distinctive set of technical, aesthetic and ethical problems embodied in the epistemology of their filmmaking practice. The study concludes that scholars should look for a more balanced fusion between film as a multisensory medium of ideas and forms of ethnographic enquiry conducted through language. The nonverbal elements and visual imagery in ethnographic/documentary films suggest obliquely that a kind of knowledge expressed in the concrete case requires an acknowledgment of domains of experience that often elude written expression.
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Adams, Zackary Michael. "Comedy Basque Style: A Recontextualization of Commedia all'Italiana." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1021.
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Commedia all'italiana, a genre of Italian film satires that emerged in the late 1950s and sustained through the late 1970s, is primarily understood through its close relationship to Italian culture. The evolution of the genre appears to be less tied to the revision of iconography and narrative codes of previous films than it is to the trajectory of Italian society during its years of prominence. The following thesis will attempt to find a definition of commedia all'italiana that is discrete from the genre's strong link to Italian culture by isolating the films' common narrative strategies. The aim in constructing this definition, which will be called the "commedia all'italiana narrative methodology," is to negotiate the possibility of formal elaboration upon the genre by a modern filmmaker, even outside of the strictly Italian context of the films in question. The viability of this endeavor will be put to the test in the final chapter, a plot outline for a feature film, entitled Commedia Vasca, that emulates the narrative approaches assembled in the commedia all'italiana narrative methodology.
This thesis begins by presenting the common understanding of commedia all'italiana, with a particular focus on the genre's close connection to Italian society. The second chapter tracks the formation of the commedia all'italiana narrative methodology by isolating and analyzing distinct and adaptable narrative strategies at play among the films of commedia all'italiana. Then the thesis changes course to set up the creative experiment in narrative adaptation, Commedia Vasca, which will engage with Basque culture, rather than Italian. The plot outline for the film is preceded by a short summary of relevant Basque history and the ways the cultural specificities of the Basque Country influenced the process of utilizing and adapting the commedia all'italiana narrative methodology.
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Rickert, Markus. "Inhaltsbasierte Analyse und Segmentierung narrativer, audiovisueller Medien." Universitätsverlag Chemnitz, 2016. https://monarch.qucosa.de/id/qucosa%3A20753.
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Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände.
Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten.
Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen.Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors.
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Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture." Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.
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Damm, Andreas. "Anonymitet och intensifierad kontinuitet : Klassisk stil och form i Hämnarens resa." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4813.
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The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that Sympathy for Mr. Vengeance remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.
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Gysi, Davide. "Style-Analysis von Hedge Funds." St. Gallen, 2005. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01650548001/$FILE/01650548001.pdf.
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Ennis, Frank Robert. "A comparison of style between selected lieder and film songs of Erich Wolfgang Korngold /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Rankin, Lela Antoinette. "Ideal Dating Styles and Meanings of Romantic Relationships Among White and Latino High School Students: A Multi-Method Approach." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1554%5F1%5Fm.pdf&type=application/pdf.
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Cormack, Michael James. "Ideology and cinematographic style in Hollywood films of the Thirties." Thesis, University of Stirling, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236026.
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Darder, Laia. "Style as a translatable dimension of language : the applicability of the translation of style in animated films." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/4232/.
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This thesis investigates how variational style is used in animated films, and whether this feature of language can withstand the process of translation. Variational style can explain instances of language varieties that appear in modern animated films, which implies a conscious design that confers various semiotic layers to the audiovisual text. We consider the case of four films that have been translated into Catalan and Spanish, and include instances of style with vernaculars in the source and target languages. Shrek 2 (2004), Shark Tale (2004), Madagascar (2005) and Cars (2006) present an opportunity to investigate how style supports the narrative in the original and dubbed versions. To this end, we apply a stylistic analysis to the four films in all three language versions to uncover how this dimension of language interacts. The corpus analysis addresses the local meanings of variation, which are established in relation to the space the variety plays in the narrative. Ultimately, we seek to determine whether the original style has been reproduced in the target texts. Furthermore, we seek to account for the acceptability of these translations by examining the current visibility of language variation in audiovisual media in English, Catalan and Spanish, and determining the extent to which speakers of each language are exposed to variation, and possibly style. Translation is also used to explore the possibilities that are available when transferring style between two languages by means of dubbing. In this context, we highlight the ethical perspective. To further address the acceptability of these translations, the final chapter consists of an empirical study into the perceptions that native audiences have of selected characters. Overall, we are able to conclude that the translation of style is a resource that has been exploited successfully for some of the characters of the corpus, and that it is a feature that can be further applied to similar fantasy films. We nevertheless acknowledge the importance of the genre, fantasy and animation, in creating a desirable situation where distance from reality allows for variation to create meanings that are distinct from their social context, which is the key to their translatability.
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Faye, El Hadji Momar. "L' épistolaire dans l'œuvre de Crébillon fils." Montpellier 3, 2004. http://www.theses.fr/2004MON30063.
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L’art de la lettre chez Crébillon fils répond à sa diversité créatrice dans le genre romanesque. Même au sein du roman épistolaire, il se singularise par une expérimentation permanente. Cela s’érige en une analyse psychologue de ses épistoliers. La narratrice, l’épistolaire étant en grande partie une écriture féminine, rend compte de sa situation amoureuse au moment de prendre la plume. Sa vie progresse au fil de la narration. Suivant la démarche de Crébillon, son esthétique adhère à la technique d’ensemble du roman par lettres avec toutefois quelques écarts. Le premier écart revient aux Lettres de la Duchesse (1768) dans lesquelles on a une énonciation non pas immédiate mais une rétrospection d’une passion souhaitée et esquissée dès le départ. Le second écart relève des Lettres athéniennes (1771) dans lesquelles Crébillon revisite une vérité historique : le Ve siècle. Il procède à une reconfiguration spatio-temporelle, la réalité antique se vit au XVIIIe siècle. Ainsi, crée-t-il un décalage entre le moment des faits et l’instant de leur écriture. Seules les Lettres de la Marquise (1732) présentent simultanément la rédaction des lettres et la progression de la passion de l’héroïne, une concomitance entre la transcription et la trame romanesqueEven within epistolary novels, he characterises himself by a continuous experimentation: which is established by an psychological analysis of his letter writers. The narrator, most of epistolary type in an feminine writing, becomes aware of her love story at the moment of her writing. Her life changes all through the narration. According to Crébillon’s process, his aesthetic borders the general technique of letter novels with however some remarkable differences: the first one belongs to Lettres de la Duchesse (1768) in which an enunciation, which is not immediate but a retrospection of a passion wished and dodged, is used from the beginning. The second one comes from the Lettres athéniennes (1771) in which Crébillon reencounter a historical truth. He elaborated a space-time change, the ancient truth is transposed to the eighteenth century. Hence, he creates a gap between the moment the moment of the acts and the instant in which it has been written. Only the Lettres de la Marquise (1732) presents the simultaneity between the writing of the letters and the heroine’s passion progress, a concomitance between the transcription and the romantic plot
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Appelqvist, Tove. "The Importance of Being Funded : A Case Study of the Public Funding, Production, and Style of Pica Pica (1987)." Thesis, Stockholms universitet, Filmvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182531.
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Given the 2017 discontinuation of the Swedish Film Agreement and the surrounding debate on the rationales of film policy, this thesis will conduct a historical study of a particular instance of Swedish film policy history, thus seeking to contribute to the understanding of the consequences of film policy for the outcome of film. Looking at the relationship between Swedish public broadcasting (SVT) and the Swedish Film Institute (SFI) during the mid-1980’s, this thesis aims to investigate the historical background of the funding and production process that enabled the creation of Pica Pica, a feature documentary film on magpies made by director Mikael Kristersson. By applying Geir Vestheim’s theory of the four instrumental arguments for public support of the arts and through an idea analysis, the thesis will investigate what arguments could be said to be pivotal for the funding and production of Pica Pica. Analyzing policy documents concerning the SFI and SVT, as well as using interviews conducted with the people in decision-making positions at the time, the thesis investigates what rationales and circumstances might be said to have informed the funding and production of Pica Pica. Furthermore, Kristersson’s film will be analyzed in relation to concepts of ecocinema and in relation to its lineage in nature portrayal in Swedish film. Through its investigation of the role of the funding and production circumstances for the stylistic outcome of the film, the thesis seeks to contribute to the understanding of the importance and consequences of film policy and production organization for the outcome of film in current times withal.
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Jensen, Joni. "A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1240%5F1%5Fm.pdf&type=application/pdf.
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Wolf, Melissa Ann. "From Steamboats to Snow White| How the Mickey Mouse Short Films Between 1928 and 1934 Resulted in a Shift from an Abstract to a Naturalistic Animation Style in the Disney Studios." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010562.
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This thesis claims that between 1928 and 1934, technological developments, along with cultural shifts in the acceptance of machines in American society, led the studio away from the abstract style of their silent films toward the naturalism that would work to create the illusion of the fantasy worlds of Disney?s full-length feature films.
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Morris, De'Sean B. "Finding A Lost Style: Study 01_Questioning Relationships Between Black Architecture, Black Film, and Black Communities in the United States." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627661571907818.
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Stoltz, Tania. "Action research on leadership style, and relationships in an East London law firm." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004592.
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"Good leadership springs from a genuine passion for the work and a genuine concern for other people. Great Leaders are people who love what they do and want to share that love with others. " (Daft, 2005:20). During an informal discussion with my husband Hugo Daniels, the leader in this Action Research Case Study, it became apparent that lawyers do not attend a single module or complete a single subject during their formal training at university to obtain their law degree that is related to the field of leadership and how to lead, inspire and motivate followers. The discussion centered on the problems the leader was experiencing in his East London law firm, problems he believed to be as a result of his lack of knowledge in the field of leadership. And so this research project began. It was obvious from the start that to intervene in the firm in order to bring about change would need the participation of everyone in the firm. The first step towards facilitating change would be to change the leadership style of the director of the firm. He would be required to gain knowledge in the field of leadership and the effects that different leadership styles have on followers. At the same time staff's perception of the current leadership style would have to be determined, as well as the desired style for their leader. The research process could then begin, based on the needs expressed by the staff and with participation from all levels in the firm. The case involved 27 members of staff made up of three heads of departments, twenty three general staff members and the leader. Data was gathered through formal interviews with the leader and the heads of departments, as well as from personal journals kept by two heads of departments and the leader. General staff members were first asked to complete The Productive Practice Survey (Hall 1987) to determine their perceptions of the current leadership style in the firm and what they thought they needed from their leader if the firm is to move forward. The Productive Practice Survey (Hall 1987) was not used with the intention of gathering quantitative data, but rather as a means of gathering information of staff's perception in general while ensuring anonymity, so as to facilitate a discussion during a feedback session. The Productive Survey's (Hall 1987) content and working is explained in further detail in Chapter 3 on page 44. Initially participants were skeptical of the process and used the survey as a medium to lash out against the firm and Hugo Daniels as a leader, leaving no room for suggestions for improvement, an "it is what it is" approach. During the feedback session general staff members became more open when they realized that change would benefit them, as changes would be suggested by them and implemented with their participation. They became less reluctant about change and provided valuable input during the session. All participants understood that this Participatory Action Research intervention was only the beginning of change in the firm and the sustainability of the changes rests on the firm as a whole, and working towards it would be a continuous process not ending with the Participatory Action Research process.
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Hauser, Brian Russell. "Haunted Detectives: The Mysteries of American Trauma." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.
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Kähkönen, Christian. "How to create a 3D character model for a pre-existing live action film, that matches the characteristics of the intellectual property and the visual style of the chosen film." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1473.
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My aim is to find out how to create a 3d character model for a pre-existing live action film, give this character characteristics that match the intellectual property and follow the visual style of the chosen film. For my example in this degree project, I chose Disney's adaption of John Carter of Mars. I used my own pipeline, which is a collection of work methods from different artists, for the creation of the example 3d character model. Though with a limit of bringing the model through the first two steps, as I focus on the constraint of this thesis work. In order to create this model, I researched the universe of John Carter, and the visual style of the film, and from that knowledge I designed a character to create a 3d model of. The finished 3d character model of this degree project was then compared to models from the production of John Carter of Mars, both by the author and through a survey to evaluate the result.
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Gilliam, David R. "A study of contact between a profile meter stylus and polymer films on roughened substrates." Thesis, Virginia Tech, 1985. http://hdl.handle.net/10919/45727.
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When a polymer film is deposited onto a roughened substrate, the film masks over the underlying substrate roughness. Then when attempting to measure the roughness of the polymer film surface using a stylus-type profile meter, the pressure between the tip of the stylus and the film is sufficient to plastically deform the polymer surface. The result is a possible erroneous measurement of the surface roughness of the polymer film. This thesis reports on attempts to quantify the actual roughness of the polymer film from the measurement obtained by the profile meter. Extensive surface profile data were collected and analyzed to determine the characteristics of the surface of the substrate and of the coating on the substrate. The tracks made by the stylus in the film were then observed in a scanning electron microscope, from which the depth of the stylus tracks were measured. The effects of the film thickness, stylus traversing speed, and substrate roughness on the stylus penetration depth, the variation in the depth, and the measured film roughness are assessed and discussed. It was found that using the fastest stylus traversing speed minimizes the variation of the stylus penetration depth and thus results in the most accurate measurement of the film surface. To predict this stylus indentation depth, a plane strain plastic deformation model is developed using slip-line field theory. It is found that the slip-line model gives good estimates of the stylus indentation depth when the film thickness is large.Master of Science
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Batchelor, Jenna Lynette. "Representations of camp in Disney's 101 Dalmatians and The little mermaid." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/batchelorj/jennabatchelor.pdf.
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Colell, Pallarés Judith. "La recerca de l'estil cinematogràfic: La influència de les arts visuals en la composició del pla." Doctoral thesis, Universitat Ramon Llull, 2022. http://hdl.handle.net/10803/673770.
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Aquesta tesi vol establir la relació entre les arts visuals i la construcció de l’espai fílmic. Encara més enllà. Influeixen les arts visuals en el contingut i no només en la forma? Què defineix l’estil cinematogràfic? Quins són els elements que treballa cada director/ra i que fan la seva obra única? La influència ve només de l’art figuratiu o l’art abstracte també es pot fer servir com a referència?
Al llarg de la tesi mirarem de respondre aquestes preguntes i veure la connexió entre les arts visuals i el cinema, i com la pintura és un factor que marca el contingut i la forma d’una obra cinematogràfica.
La tesi és una investigació de naturalesa descriptiva i amb caràcter exploratori, que es concreta amb una metodologia qualitativa amb dues tècniques complementàries per tal de donar resposta a les preguntes de recerca formulades.
En primer lloc, s’han realitzat entrevistes semiestructurades a set cineastes espanyols i a dues acadèmiques dels Estudis fílmics. En segon lloc, es fa una anàlisi fílmica que ha de permetre identificar les influències provinents d’artistes visuals, prioritàriament de la pintura, que intervenen en la configuració d’un estil cinematogràfic concret, en la composició visual i en l’organització del pla.Esta tesis quiere establecer la relación entre las artes visuales y la construcción del espacio fílmico. Aún más allá. ¿Influyen las artes visuales en el contenido y no solo en la forma? ¿Qué define el estilo cinematográfico? ¿Cuáles son los puntos que trabaja cada directora y que hacen su obra única? ¿La influencia viene solo del arte figurativo o el arte abstracto también se puede utilizar como referencia? A lo largo de la tesis trataremos de responder a estas preguntas y ver la conexión entre las artes visuales y el cine y cómo la pintura es un factor que marca el contenido y la forma de una obra cinematográfica. La tesis es una investigación de naturaleza descriptiva y con carácter exploratorio, que se concreta en una metodología cualitativa con dos técnicas complementarias para dar respuesta a las preguntas de investigación formuladas. En primer lugar, se han realizado entrevistas semiestructuradas a siete cineastes españoles y a dos académicas de los Estudios fílmicos. En segundo lugar, se realiza un análisis fílmico que debe permitir identificar las influencias provenientes de artistas visuales, prioritariamente de la pintura, que intervienen en la configuración de un estilo cinematográfico concreto, en la composición visual y en la organización del plano.
This thesis wants to establish the relationship between the visual arts and the construction of the filmic space. Still further. Do the visual arts influence the content and not just the form? What defines the cinematographic style? What are the points that each director works on and that make their work unique? Does the influence come only from figurative art or can abstract art also be used as a reference? Throughout the thesis we will try to answer these questions and see the connection between visual arts and cinema and how painting is a factor that marks the content and form of a cinematographic work. The thesis is a research of descriptive nature and of exploratory nature, which takes the form of a qualitative methodology with two complementary techniques in order to answer the research questions posed. First, semi-structured interviews were conducted with seven Spanish filmmakers and two film studies academics. Secondly, a filmic analysis is made that must make possible to identify the influences coming from visual artists, primarily painters, who are involved in the configuration of a specific cinematographic style, in the visual composition and in the organization of the shot.
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Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.
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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates.
In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.
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Taylor, Melissa. "Young Adult Perceptions of Egalitarianism in their Families of Origin: An Examination of Conflict Style, Locus of Control, and Psychological Distress in Young Adult Relationships." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1052%5F1%5Fm.pdf&type=application/pdf.
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Dambrauskienė, Vaida. "Poligrafinis firminis stilius." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070119_154154-64596.
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The structure of the work has two parts: in the first part we discuss the analysis of literature, characteristic of advertising, the plan of activity, the style of the company, image and the main formation features. All this concurrent of the trademark, it’s functions, species, colours. In the second part goes theory applies with the chosen company’s booklet creation, it’s analysis.
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Wang, Jianmin. "WIKI-style administration of online course content." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2445.
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A Wiki is a piece of server software that allows users to freely create and edit Web page content using any Web browser. This project created the program, "Wiki-Style Administration of Online Course Content" (WAOCC) which can be used as a teaching assistant board. Students can edit their works online and the instructor can review the work and correct it directly if necessary from the WAOCC.
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Shi, Xin. "Le style poétique au cinéma : recherche en poétique à travers la réalisation du documentaire-fiction "Shangai, Nostalgie"." Paris 1, 2009. http://www.theses.fr/2009PA010533.
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Du premier essai de l'avant-garde française sur « le poème cinématographique », jusqu'au formalisme russe et Pier Paolo Pasolini en Italie, les recherches sur « le cinéma de poésie », envisagent les problématiques de la théorie cinématographique concernant le poétique au cinéma. Dans cette thèse, la conception proposée est que le style poétique est un retentissement esthétique général dans le film, débarrassé de la notion de poésie littéraire et de ses limites. Afin d'expliquer les modalités du style poétique dans le film, nous avançons qu'elles sont liées à des caractéristiques relatives à la présence subjective du rêve, du souvenir, de l'imaginaire, du soin mis à l'élaboration de l'image et de la lumière, à l'importance accordée au rythme et à la rime, à l'utilisation de l'expression indirecte comme la métaphore, etc. En outre, à travers la réalisation du documentaire-fiction « Shanghai, Nostalgie» par l'auteur elle-même, des investigations ont été mené sur le parcours de la formation consciente
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Gibbs, John. "'It was never all in the script...' : mise-en-scene and the interpretation of visual style in British film journals, 1946-1978." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298747.
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Strausz, Laszlo. "Traveling through Space: Stylistic Progression and Camera Movement." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04202007-122230/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Greg M. Smith, committee chair; Charlie Keil, Ted Friedman, Kathy Fuller-Seeley, Angelo Restivo, committee members. Electronic text (310 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 276-283).
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Yoshino, Hirokazu. "Non-linear model fitting for the measurement of thin films and surface topography." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25482.
Full textAbstract:
Inspection of optical components is essential to assure the quality and performance of optical systems. Evaluation of optical components includes metrology measurements of surface topography. It also requires optical measurements including refractive index, thin film thickness, reflectivity and transmission. The dispersion characteristics of optical constants including refractive index are also required. Hence, various instruments are used to make these measurements in research laboratories and for quality assurance. Clearly, it would be a significant advantage and cost saving if a technique was developed that could combine surface metrology with optical measurements. {Coherence Scanning Interferometry} (CSI) (also referred to as {Scanning White Light Interferometry} (SWLI)) has been used widely to measure surface topography with sub-nanometre vertical resolution. One of the benefits of the CSI is that the technique is non-contacting and hence non-destructive. Thus the test surfaces are not affected by the measurement using a CSI instrument whereas damage to the surfaces can occur when using traditional contact methods such as stylus profilometry. However use of CSI is geometrically limited to small areas ($\lesssim 10 \times 10$ mm) with gentle slopes ($\lesssim \ang{40}$) because of the numerical aperture of objective lens whereas stylus profilometry works well with larger areas and higher slopes due to the range of motion of the gauge and the traverse unit. Since the CSI technique is optical and involves light reflection and interference it is possible to extend the technique for the measurement of the thickness of transparent films, the roughness of surfaces buried beneath thin films or interfacial surfaces. It may also be used to determine spectral complex refractive index. This thesis provides an analytical framework of new methods to obtain complex refractive index in a visible light domain and interfacial surface roughness (ISR). It also provides experimental verification of these new capabilities using actual thin film model systems. The original Helical Complex Field (HCF) function theory is presented followed by its existing extensions that enable determination of complex refractive index and interfacial surface roughness. Further theoretical extensions of the HCF theory are also provided: A novel theory to determine the refractive index of a (semi-)transparent film is developed to address the constraint of the current HCF theory that restricted its use to opaque materials; Another novel theory is provided to measure ISR with noise compensation, which avoids erroneous surface roughness caused by the numerical optimisation affected by the existence of noise. The effectiveness of the ISR measurement with noise compensation has been verified using a number of computer simulations. Stylus profilometry is a well established method to provide a profile and has been used extensively as a 'reference' for other techniques. It normally provides a profile on which the roughness and the waviness are computed. Extension of the stylus profilometry technique to areal measurement of asymmetrical surfaces, namely raster scan measurement, requires a system to include error compensation between each traverse. The system errors and the random errors need to be separately understood particular when the measurement of a surface with nanometre-order accuracy is required. In this thesis a mathematical model to locate a stylus tip considering five mechanical errors occurring in a common raster scan profilometer is provided. Based on the model, the simulator which provides an areal measurement of a sphere was developed. The simulator clarified the relationship between the Zernike coefficients obtained from the form residual and the size of the errors in the form of partial derivatives of Zernike coefficients with respect to the errors. This provides theoretical support to the empirical knowledge of the relationship between the coefficients and the errors. Furthermore, a method to determine the size of errors directly from Zernike coefficients is proposed supported by simulations. Some of the error parameters were accurately determined avoiding iterative computation with this method whereas the errors are currently being determined by iterative computation.