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Bjurström, Andrea. "Screen:play : Hamlet genom okända skärmdumpar." Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7359.
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For my graduation project I was interested in title cards, intertitles and captions from past films and clips. I am fascinated by their typography and art, but also the visual aspects of age and use. Aided by the writings of the artist and filmmaker Hito Steyerl, I explored the world of the poor quality image, an image that has been copied and pasted into different (mainly digital) channels of distribution. I found my own way of translating the visual language of an image with a past. Quoting one of the most retold (copied and pasted) plays; The Tragedy of Hamlet, Prince of Denmark written by William Shakespeare, ca 1600.
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.
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Leibnitz, Kimiko. "Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts." Doctoral thesis, Saarbrücken VDM Verlag Dr. Müller, 2005. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-19478.
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Diese Dissertation liefert einen kulturhistorischen Überblick über die Darstellung der Frauenfiguren Gertrude und Ophelia in Hamlet-Verfilmungen des 20. Jahrhunderts. Die beiden weiblichen Gestalten werden dabei im Hinblick auf ihr äußeres Erscheinungsbild wie auch ihre Charakterzeichnung vor dem historischen, kulturellen, politischen und gesellschaftlichen Entstehungshintergrund der Filme beleuchtet. Die Analysen konzentrieren sich ausschließlich auf Kinofilme, da diese ein wesentlich breiteres Publikum erreichen als etwa die diversen Bühnen- oder Textfassungen des Stücks. Die erste der insgesamt zwanzig untersuchten Leinwandfassungen entstand im Jahre 1900, die letzte kam 2000 in die Kinos – die vorliegende Arbeit behandelt also eine genau 100-jährige Tradition der Hamlet-VerfilmungenThis doctoral thesis provides a comprehensive historico-cultural analysis of the figures of Gertrude and Ophelia as portrayed in Hamlet film adaptations of the 20th century. The two female figures are examined with a special emphasis on their outward appearance and character disposition, which are set against the historical, cultural, political and social background of when the films were produced. These analyses focus exclusively on film adaptations made for cinematic release, which have a larger audience than the various book versions and TV and stage productions of the play. The first of the overall twenty Hamlet films discussed here was made in 1900, the last one in 2000 – the work at hand comprises therefore a one-hundred-year-old tradition of Hamlet film adaptations
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Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.
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Ferreira, Diego Santos. "Holding mirrors up to Hamlet: what Franco Zeffirellis and Michael Almereydas filmic adaptations of the play tell us about it." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4031.
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Hamlet (1601), de William Shakespeare, é, desde o Fólio de 1623, circundada por um enorme e variado volume de leituras, que abrangem desde textos críticos e teóricos até as mais diversas adaptações teatrais e cinematográficas. Desde o final do século 19, o cinema vem adaptando peças de Shakespeare, fornecendo novos pontos de vista e sugestões para a encenação dessa obra ao levá-la inúmeras vezes para as telas. Dentre uma longa lista de adaptações fílmicas de Hamlet, o Hamlet mainstream de Franco Zeffirelli (1990) e o Hamlet 2000 (2000), filme independente de Michael Almereyda, compõem o corpus eleito para análise nesta dissertação. Dialogando com noções de críticos e teóricos que desenvolveram estudos sobre o conceito de adaptação, tais como André Bazin, Robert Stam e Linda Hutcheon, sugiro uma desierarquização entre a peça shakespeariana e os filmes logo, entre literatura/teatro e cinema. O objetivo final deste trabalho encontra-se na proposta de uma reflexão sobre esses filmes enquanto potenciais materiais críticos elucidativos para o estudo da peça, úteis na discussão de alguns de seus mais importantes temas e/ou questõesHamlet (1601), by William Shakespeare, has been, since its publication in the First Folio (1623), surrounded by a huge and varied number of readings, ranging from critical and theoretical texts up to several different theatrical and cinematographic adaptations. Since the end of the 19th century, cinema has adapted Shakespearean plays, proposing alternative points of view and interpretations when transposing them to the screen. Among a list of several filmic adaptations of Hamlet, Franco Zeffirellis mainstream Hamlet (1990) and Michael Almereydas independent Hamlet 2000 (2000) make up the corpus under analysis in this dissertation. Establishing a dialogue with ideas developed by important critics and theorians such as André Bazin, Robert Stam and Linda Hutcheon about the notion of adaptation, I suggest a dismissal of the hierarchy between the Shakespearean play and the films; therefore, a dismissal of the notion of literature/theater's superiority to cinema. The main aim of this dissertation consists in proposing that the chosen films be taken as potential critical material providing access to the Shakespearean play in the discussion of its major issues
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Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.
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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.
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Hammer-Langrock, Andrea [Verfasser], and I. [Akademischer Betreuer] Ott. "Effects of Cities on Firm-level Innovation - Empirical Studies for Germany / Andrea Hammer-Langrock ; Betreuer: I. Ott." Karlsruhe : KIT-Bibliothek, 2017. http://d-nb.info/1136021582/34.
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Dunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.
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Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
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In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
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Crouch, Makenzi Ilse. "Shakespearean tragedy and the Internet-disseminated short film : adaptations of 'Hamlet' and 'Romeo and Juliet' on YouTube and Vimeo." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/43350/.
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Significant changes and advances in technology in the twenty-first century, and the rapid evolution and development of the internet in particular, have shaped the production, publication, and consumption of, and access to, a wide range of media. For adaptors of Shakespeare, such advances can be exploited as new and innovative ways through which to interpret, perform, and understand Shakespeare. This thesis argues that a possibility space emerges from the restrictions of video-sharing sites such as YouTube and Vimeo, enabling the creation and online distribution of original internet-disseminated short film adaptations of Shakespeare on a scale — and with a potential audience — previously unimaginable to those without significant financial resources. I explore the effect that the enforced brevity of the possibility space has on filmmakers’ adaptations of Shakespeare and ask how this space enables newly creative and innovative approaches to adapting Hamlet’s ‘to be or not to be’ speech, Ophelia’s image (and death), and a distilled Romeo and Juliet narrative. I aim to show that a generally circulated cultural memory of Hamlet and Romeo and Juliet is crucial for this kind of short-form adaptation, as the brevity of the format relies on audience familiarity with the images and texts deployed to fill in any gaps. I demonstrate that image-based adaptations, such as Ophelia’s death, are predominantly reductive due to a strong visual tradition that results in repeated reproduction of the same image, whereas text-based adaptations, such as Hamlet’s speech, allow exploration and amplification due to the nebulous nature of the text and exploitation of the possibilities of film; the Romeo and Juliet love story, bound up in both text and image, is more visually resonant than adaptations of Hamlet’s speech, but less so than those of Ophelia’s death. Ultimately, I conclude that although the possibility space always exists, it is not always leveraged in the same way: it can, and does, offer internet-disseminated short filmmakers the opportunity to approach familiar Shakespearean material in new and innovative ways, but this creative potential can be overlooked in favour of static, mimetic replication that uses Shakespeare to confer legitimacy without writing back.
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Huckvale, D. "The influence of nineteenth-century romantic music on scores written for Hammer Film Productions (1957-1980)." Thesis, Open University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523476.
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Plumley, Bailey. "Self-Inclusion of the Queer Body in Barbara Hammer's 'Superdyke Meets Madame X' (1975)." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620157460893929.
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Martínez, Samper Pablo. "Padre e hijo: una historia del cine a través de las figuras de Ulises, Abrahan y Hamlet." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668174.
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Esta investigación propone una “historia del cine” a través de dos figuras que recorren todas sus historias, el padre y el hijo. La hipótesis principal de la que partimos es que el modelo paterno-filial es una trama heredada de la tradición literaria y que, desde sus inicios, el cine carga con esa herencia imaginando soluciones posibles. ¿Cómo aparece representado el padre en la historia del cine? ¿Cuáles son los rasgos que lo definen? ¿De qué forma fue configurada esta relación, padre-hijo, en cada “período” cinematográfico? ¿Cómo se reflejan las soluciones formales de cada autor y de cada movimiento en torno a la representación de esta relación? El lugar y el rol que cumplen los padres y los hijos no se encuentran prefijados de antemano sino que se transforman según los cambios históricos y la construcción de las figuras. Esta investigación plantea, por lo tanto, estudiar el binomio padre-hijo como el lugar desde donde leer las tensiones formales e históricas de cada periodo cinematográfico.This research work sets out a "history of the cinema" through the research of two figures that are present in all its histories, the father and the son. The main hypothesis is that the filial-paternal model is a storyline that the cinema inherits from the literary tradition and, from its beginnings, takes this inheritance on imagining possible solutions. How does the father appear represented in the history of the cinema? What are the traits that define him? How was this relationship, father/son, configured in each cinematographic "period"? How are the formal solutions by each author and each movement reflected around the representation of this relationship? The place and the role of parents and children are not predetermined beforehand but are transformed according to historical changes and the construction of the figures at the same time. Therefore, this research proposes to study the couple father-son as the place from which the formal and historical tensions of each cinematographic period are read.
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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.
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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Leibnitz, Kimiko [Verfasser]. "Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts / vorgelegt von Kimiko Leibnitz." 2006. http://d-nb.info/982177534/34.
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Heine, Erik James. "The film music of Dmitri Shostakovich in The gadfly, Hamlet, and King Lear." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1762/heinee14212.pdf.
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Wang, YI-JR, and 王義之. "Tech Plant Fire Protection Water System of Water Hammer." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/kd362y.
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碩士國立交通大學
工學院產業安全與防災學程
102
Due to the increasingly demand of high density usage of property space and cost /energy saving , it is getting common to install the simultaneous water supply requirements for fire protection equipment simultaneous system ; namely, fire hydrants, automatic fire sprinklers, water mist system and fire hose reels served by the same water supply in semiconductor manufacturing plants. Based on the conservative but reasonable observation that a fire event is likely to activate an automatic sprinkler system or water mist system, occupants may use fire hose reels and the responding fire agency is likely to use the fire hydrant system whilst the sprinklers continue to operate the minimum performance of each system will be demanded simultaneously. However, some actions cause rapid change of water demand such as valve open/close, outlet open/close. Based on observations, water hammer occurs when continuous ,rapid or irregular changes happen in simultaneous system . There are several transient analysis methods, but this work employed only the computer model (SURGE software) to construct models to calculate and simulate transients in a pipeline. Many scenarios and different valve closure operations were applied to the models (with a pump and without a pump in the pipeline) to study the transients. The analysis shows that the routine fire flow pump tests would cause a frequent failure during fire flow testing. The fact that these failures occur infrequently can be attributed to some careless operation of fire fighting personal for surge protection such as rapid turn off/on. The occurrence of transients can introduce large pressure forces and damage the whole pipe system. Note that the hydraulic model of (simultaneous system) which is required to design the system can be used to perform a transient analysis and provide the risk evaluation , the standard of operations (SOP) . Therefore, little additional effort is required to perform this critical step and assure safety environment.
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O'Brien, Morgan Clark. "A critical study of Hammer Film Production’s brand of Gothic Horror from 1956 – 1972." 2013. http://hdl.handle.net/2152/22294.
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Hammer Film Production’s brand of melodramatic Gothic Horror reinvented horror cinema in 1957. Despite bringing tremendous financial success throughout the 1950s and 1960s, Hammer’s Gothic had run its course by the early 1970s and cinematic production ceased altogether by 1975. After establishing multiple iterations of a markedly recognizable house style, it is generally agreed that Hammer failed to adapt to the demands of a changing marketplace. This thesis investigates the circumstances surrounding Hammer’s demise by conducting neoformal analysis of case study films and examining how they were affected by cultural, historical, and industrial factors. Looking to Hammer’s films themselves helps determine to what extent they were responsible for Hammer’s misfortune and why. This thesis demonstrates how Hammer’s own production setup and early genre success contributed to the studio’s eventual downfall and the outside factors that underscored this process. I argue that Hammer did experiment with house formula but the studio’s attempts to renegotiate the 1970s horror landscape were unsuccessful because of changing audience demographics, an industry in transition, and Hammer’s own perceived corporate identity.text
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Huang, Chun-Hsien, and 黃俊憲. "Analysis of Water Pressure Loss and Water Hammer in Relay Pumping of Fire Truck." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4fxq94.
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碩士國立交通大學
工學院產業安全與防災學程
106
When the fire occurs, the firefighting person is one of the most important weapons when the fire is extinguished. In addition to the amount of water (about 1 to 12 pound) carried by the fire engine itself, the way the water is delivered to the fire determines the fire in front Firefighters in the hands of the fire nozzle water pressure, water and whether the continued uninterrupted. From the source of water (the most commonly used is the fire hydrant) to send water to the fire mainly include fire protection, fire hose, valve (joints, water separator, etc.), any link problems may affect the success of disaster relief no. This study is mainly for the vehicles, equipment and equipment used by the general field fire brigade. After the situational field experiment, the water loss formula is used, and the hydraulic calculation software Surge simulation is used. The two-phase integration compares the water damage size. It is hoped that the software Surge can simulate the scene that cannot be measured, and the location and time of the system damage caused by the water hammer in the system can be obtained. In order to understand the impact of the relay water supply system caused by the firefighters operating the gate valve switch sequence, the water belt between the fire trucks being blocked (the car is over), and the use of some of the nozzles to quickly open and close, the feasibility of the improvement method is proposed. To reduce the impact of water damage and water hammer on disaster relief. In this study, the water belt friction loss formula was simplified to calculate the pressure loss of 2.5 吋 and 1.5 吋 fixed effluent flow in each water zone (simplified to 0.1 kgf/cm2 and 1.2 kgf/cm2) to facilitate the fire truck division. The function can quickly and effectively adjust the water pressure of the front nozzle hand; the long-distance relay water is delivered with a 2.5-inch water belt, and the optimal water supply is 250GPM and the pressure loss is calculated (simplified to 0.7 kgf/cm2). The software Surge simulates the position and time of the water hammer in various situations, and finds that because the fire truck does not have a water hammer prevention device, the diameter of the fire pump inlet tank is much smaller than 2.5 吋 at the water outlet, the nozzle is fast switching, and the water belt is blocked. Factors such as gate valve switches, etc., may cause damage to the fire truck and system valve components due to the occurrence of water hammer. This study suggests that vehicles, equipment, and equipment from different manufacturers can be used as water loss comparisons in the future, and different parts of them can be analyzed to find out where water hammers may occur and prevention measures. In terms of software, we try to reduce the difference between the simulated pipeline and the fire hose, and the size of the real water hammer is presented.
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Hung, Pei-Shan, and 洪珮珊. "Case Study on the Transformation of Business Model of Exporting Firms in Taiwan－Application from Hamel Model." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/17878953666276910492.
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碩士逢甲大學
國際貿易所
99
Since 1990, the global trading environments have changed dramatically, including the popularization of internet, globalization, the integration within Free Trade Area (FTA) and so on. Under the circumstances, Taiwan’s exporting companies also have to face with the difficulties of disintermediation (no more middleman), the offshore migration of business activities, the issue about Economic Cooperation Framework Agreement (ECFA) and etc. The purpose of this research is to reveal the core competence of five case exporters and to find out the appropriateness of their strategies for transferring into a new business model in order for reference. This research methodology is mainly on qualitative research and using quantitative methodology to do the triangulation. This research adopts case study method and five top managers (some also owners) for each exporting companies are interviewed. Base on Hamel’s business model (2000), we analysis the business model of the five selected exporters by using Hamel’s four structures, such as Core Strategy, Strategic Resources, Customer Interface and Value Network. The five selected exporters are derived from different industries. According to the interview result, we analyzed their business model and generalize their resources and competitive advantage of each exporter. This paper also shows how the five selected exporters transform into suitable business model and adapt to the changing international environment. Finally, the research was also tested with data collected from 30 exporters in Taiwan and which established more than 5 years. With the empirical result, we can prove the case study with generality.
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Bělohoubková, Klára. "Korespondence V+W I. - III. jako teatrologický pramen." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-331961.
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