Dissertations / Theses on the topic 'Goss (Firm)'

Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains ix, 416 p. Includes bibliographical references (p. 394-416). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug. 15.

The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity. By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism.

This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.

Religion och film är ett ämne som fångat mångas intresse, inte minst de som önskar veta huruvida film är ett lämpligt medium för religion och för de som önskar använda filmer i sin religionsundervisning. Denna undersökning kom till för att ge svar på några sådana funderingar genom att undersöka hur två filmatiseringar, Prince of Egypt och Exodus Gods and Kings, skiljer sig från ursprungsberättelsen kring Exodus som finns i andra Moseboken. För att göra detta togs tre frågeställningar fram; om det finns skillnader mellan filmateringarna och grundhistorien och hur dessa i så fall yttrar sig, hur dessa eventuella skillnader påverkar berättelsens framställning samt huruvida filmatiseringarna kan användas i ett undervisningssammanhang. Undersökningen gjordes genom att använda en komparativ metod för att jämföra utvalda scener ur berättelsen med deras motsvarighet i filmatiseringarna och undersöka aspekter så som tidshantering, karaktärer och vilken typ av text de bedöms vara utifrån några förvalda kriterier. Resultatet visade att det finns stora skillnader i tidshanteringen i de utvalda scenerna och att många karaktärer fick en marginell roll som inte uppfyllde samma syfte i filmatiseringarna som de gjorde i den ursprungliga historien. Det gick också att utröna att filmatiseringarna främst var berättande snarare än beskrivande och alltså inte hade återberättande som sitt huvudsakliga syfte utan snarare underhållning. Baserat på dessa resultat kunde slutsatsen dras att det finns ett flertal olika skillnader mellan filmatiseringarna och ursprungshistorien och att dessa påverkar berättelsens framställning i hög grad. Hur framställningen påverkas av dessa ändringar hade behövt undersökas ytterligare. Det gick även att dra slutsatsen att de inte är lämpliga att använda i ett undervisningssammanhang utan att göra eleverna medvetna om de skillnader som finns och föra en diskussion kring dem, vilket är högst tidskrävande.

La tesis interpreta diacrónicamente la poesía de Ángel Crespo (1926-1995) (Poesía, Valladolid, 1996), como búsqueda de lo sagrado desde el interior del lenguaje. Formula filosóficamente las preguntas que el poeta responde artísticamente, para mostrar su universalidad ética y psicológica. Explica cómo el poeta enfrenta las limitaciones del lenguaje para expresar una realidad intuida más allá del mismo: mediante los procesos de simbolización, trasciende su dimensión arbitraria y convencional para albergar una concepción de la realidad (mundo y yo) progresivamente más amplia y unitaria. Como guía de esta evolución, el símbolo crespiano posee una virtualidad religiosa e iniciática que para mantener una perspectiva aconfesional y científica es estudiado desde la antropología de lo sagrado, de M. Eliade, la psicología de Jung y a la hermenéutica simbólica de G. Durand, disciplinas que afirman la dimensión religiosa como parte irrenunciable de la psique y la búsqueda del Sentido como objetivo de toda manifestación humana.
This essay entails a diachronic interpretation of the poetry of Angel Crespo (1926-1995) (following the edition Poesía, Valladolid, 1996), as a search for the sacred dimension of the world, developed from within the language. It frames philosophically the questions that the poet answers artistically, in order to show their ethical and philosophical universality. It explains how the poet, by means of the processes of symbolisation, manages to go beyond the edges of language (those of his arbitrariness and conventionality) and to express a conception of the full reality (world and I) gradually wider and more unitarian. As a guide of this evolution, the poetic symbol has a religious meaning and a sense of initiation in the work of Crespo. This thesis studies those aspects from a scientific and not confessional point of view, by relating the poetry of Crespo with the religious anthropology of M. Eliade, the psychology of Jung and the symbolic hermeneutics, from Cassirer to Durand.

Thesis (Ph. D.)--Florida State University, 2003.
Advisor: Dr. Eugene Crook, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed Mar. 1, 2004). Includes bibliographical references.

Thesis (M.S.)--University of Wisconsin--Madison, 2006.
Typescript. Title from title screen (viewed Sept. 5, 2007). Includes bibliographical references (leaves 123-129). Online version of the print original.

碩士
國立臺灣藝術大學
電影學系
102
Since the establishment of Kuala Lumpur in 1847, both Jalan Sultan and Petaling Street have been the heartland of the capital city of Malaysia until today. Over a century or so the old streets have been affected by several urban development plans. Some historical and cultural landscape have been transformed, with some old buildings demolished while some struggling to survive poor management. The old streets have been overlooked and marginalized by rapid urban development of the capital city. In August 2011, following the announcement of the newly proposed Mass Rapid Transit (MRT) line to cover the old streets, the imminence of the movement to reclaim old shops and buildings looms. As far as Kuala Lumpur’s existing landscape is concerned, MRT and subsequently announced commercial buildings projects are not unlike the straw that breaks the camel’s back, prompting controversial land reclamation movement, as well as gatherings to call on the community to save the old streets from the brink of demolition. Out of a passion to preserve what may soon become part of our history, I recorded cultural heritage gatherings and today’s old streets. In 2012, together with my documentary production students, we visited the streets and spoke with the residents. Emotionally engaged, only did we realize the existing methods could not quite express our deeper thoughts. The looming idea to tell its story prompts us to start the project of As Time Goes By. In an era when capitalism monopolizes every matter, the routine of life slips into oblivion as time goes by. Swift transformation of the new and disappearance of the old – as if all are occurring out of necessity. Several years on, I have been visiting every corner as a flaneur, leaving in me the nostalgia of the old streets which I am in no part belonging to it. Following some contemplations, I decided to tell the story from the perspective of two residents – Chan Tim Fook and Chan Kam Wah. Apart from observing the ongoing disappearance of the old streets, I am also keen to present the life aspects of two generations in an era which capitalism stretches its tentacles to serve as a guideline of every matter. How do they position themselves in an age of massive transformation? What is their version of As Time Goes By stories? My comprehension and understanding of the old streets are very much different from what have been mentioned by the media, let alone the public’s simplification of the elements of old streets. It is my wish to share with the audience that urban landscape is not limited to a single outlook or two. Why is the old street area – having welcomed migrant workers and low-income locals – slowly slipping into oblivion as a landscape unacknowledged by the mainstream middle class? Quasi documentary and realistic portrayal, As Time Goes By is produced in an impromptu style. With all creative elements closing up to reality, the documentary director fills fictional storyline into the gaps of real life scene, in a hope to strike a balance between storytelling and documentary. While highlighting the vicissitude of old streets, As Time Goes By also reflects the frailty and sentiments of the people.

The common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities—Hollywood, the San Francisco Bay Area, and New York—had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions—Barton Fink (1991), Bram Stoker’s Dracula (1992), and The English Patient (1996)—it becomes clear that the three communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Rather than define the 1990s as an era of technological determinism—which would be a superficial reading of the era—it is an era best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work.

碩士
國立臺北藝術大學
文創產業國際藝術碩士學位學程(IMCCI)
105
After two bright decades New Taiwanese Cinema is currently in a difficult situation:although still gaining international recognition, fewer and fewer venues in Taiwan are screening its films due to the lack of interest from local audiences. Through the case study　of Tsai Ming-Liang, this essay will explore how art house directors are exploring new　screening venues that better suit their films, beyond the film theater. Due to the strong　presence of intertextuality in his films, the museum space offers new ways to Tsai explain　himself and inform audiences of his influences. This approach will hopefully improve the　broken dialogue between art film director and audiences in Taiwan. Finally, since this　research is born after an internship period at the Taiwan Film Institute, the future role of　the institution and its cinematheque in this relationship will be discussed: can it attract　audiences back to theater to watch Taiwanese films?

碩士
明道大學
中國文學學系(碩士班)
100
Journey to the West, is a classic of hall class in Chinese literary history. The research , develop into specialty knowledge more of Journey to the West. Journey to the West comes in four one of the big strange books in China, although content is with tang dynasty three hide a master to India take through of story for topic, book in the every kind of person and God and evil Dou method appeared the deeds have already escaped from the career of real world. From the text, have already clearly pointed out that Journey to the West is using the God evil fight of form, to take to experience through five saints of rob difficult do a clear detailed description. So, Journey to the West actually what story is what to speak? What we saw many Taoists from Journey to the West is clean to have no for of assertion, same, also see the good and evil retribution of Buddhism. For this, can pretty much affirm of say, Journey to the West since have the Taoist, even have the assertion of Buddhism in the inside. Journey to the West isn't only just everyone familiar to know all, these stories enriched our mild lives and provided us with many spaces of imaginations. But Journey to the West author will never be only for compose God of jollification evil novel. Now that Journey to the West don't be just a funny novel and necessarily contain deeper idea aim so among them. This theory begins from the affairs in details of "the fire" in the story, initial simply combed "Tang takes through" to change in to the novelistic variety from the history process, look forward to the researcher to have the interest to Journey to the West , or many or few thinking that provide Journey to the West different realms. Details of inquiring into Journey to the West are principal axis, and are induced with analysis to details. Expect the ability with probe of this topic, analyze Journey to the West in write to apologue the way of the west by five saints, a variety of " Fire Disasters " disaster etc. seen is to their influence. Again with integrate Journey to the West person and inside hero prototype, analyze the inside hero prototype of the person in Journey to the West further. Let everyone ability gradual Journey to the West mold a heroic performance shape.

Este documento descreve o desenvolvimento do filme “Deuses Esquecidos” e tem por principal cenário os sítios de arte rupestre do Vale do Côa. O argumento, seguindo a sugestão simbólica de John Steinbeck no romance “A um Deus Desconhecido”, propõe uma renovação do valor de culto do Vale do Côa através da sobreposição de imagens e significados. Esta renovação não é só feita dentro do filme: o próprio objecto fílmico pode ser visto como uma gravura ou, pelo menos, como sombra efémera que percorre as linhas sulcadas pelo homem pré-histórico. O filme foi realizado ao abrigo de um protocolo firmado entre a Fundação Côa Parque e a Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. O filme remete para várias dimensões conceptuais. Exploram-se primeiramente as relações de proximidade entre o dispositivo cinematográfico e a arte rupestre, no que diz respeito aos seus aspectos técnicos e formas de apresentação, e o que isso implica na relação que constroem com o espectador. São também explorados, no contexto de mecanismos de projecção, de si mesmo e do outro, questões relacionadas com duplos, sombras, simulacros e estátuas, sob a asa dos mitos originários da pintura e escultura avançados por Plínio, o Velho, e Ficino. Outras questões relevantes dizem respeito à relação anacrónica do homem com as imagens do passado, - cujo fosso temporal se alarga no caso da arte rupestre - e na capacidade da imagem ser projectada para o presente através da sobreposição de significados, ao uso programático da música, “leitmotives”, à escolha da polifonia feminina a capella e relações propostas entre a voz, o corpo e a alma. Neste documento estão também incluídos a metodologia e materiais elaborados para a realização do projecto – guião, storyboard, descrição da rodagem e das gravações musicais. Por fim, apresenta-se um mapa visual, onde se propõe relações entre o presente projecto e produção artística, cinematográfica e, residualmente, literária de autores de referência, acompanhado de alguns comentários.
This document describes the development of the film “Forgotten Gods”, whose main scenario is the rock art sites of the Côa Valley. The script, following the symbolic suggestion by John Steinbeck in the novel “To a God Unknown”, proposes a renewal of the cult value of the Côa Valley through the superimposition of images and meanings. This renewal is not only done within the film: the filmic object itself can be seen as an engraving or, at least, as an ephemeral shadow that wanders through the lines made by the prehistoric man. The film was made under a protocol signed between the Côa Parque Foundation and the Faculty of Social and Human Sciences of Nova University. The film refers to several conceptual dimensions. We first explore the proximity relations between the cinematographic device and rock-art, regarding their technical aspects and forms of presentation, and what this implies in the relationship built with the viewer. In the context of projection mechanisms, of oneself and of the other, issues related to doubles, shadows, simulacra and statues are also explored - under the wing of the origin myths of painting and sculpture advanced by Pliny , the Elder, and Ficino. Other relevant issues concern the anachronistic relationship between men and the images of the past - whose temporal gap widens in the case of rock art - and the ability of the image to be projected into the present through the superimposition of meanings, to the programmatic use of music, “leitmotives”, to the choice of a capella female polyphony and the proposed relationships between voice, body and soul. Included here are the methodology and materials developed to carry out the project - script, storyboard, description of the shooting and musical recordings. Finally, a visual map is presented, proposing relations between the present project and artistic, cinematographic and, residually, literary production by leading authors, accompanied by some comments.