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Dissertations / Theses on the topic 'Hollywood (Los Angeles)'

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Published: 4 June 2021

Last updated: 29 January 2023

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1

Oltmann, Katrin. "Remake - Premake : Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960 /." Bielefeld : transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960330&prov=M&dok_var=1&dok_ext=htm.

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2

Sannah, Bassim. "The characteristic features of Hollywood's scenographical stylization (1930-1939)." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=972588477.

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3

Dammann, Lars. "Kino im Aufbruch : New Hollywood 1967-1976 /." Marburg : Schüren, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016300992&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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4

Joniak, Elizabeth A. ""On the street" and "of the street" the daily lives of unhoused youth in Hollywood /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023832501&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Lewis, Shane. "Orry-Kelly : an Australian in Hollywood : producing meaning through costume." Thesis, Queensland University of Technology, 1997.

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Costume designer Orry-Kelly has a unique place in Hollywood history as one of the few designers to win three or more Academy Awards and one of the few Australians to succeed in the Hollywood studio system. His work was a major factor in the success of Bette Davis at Warner Bros. However, Orry-Kelly and his work have received little critical attention. This study examines the function of Orry-Kelly's costumes in a selection of Bette Davis vehicles produced at Warner Bros. between 1938 and 1942. In order to assess the value of Orry-Kelly's contributions, the thesis charts the development of the role of the Hollywood studio costume designer and summarises theories relevant to the function of costume in classical Hollywood narrative. Films analysed are Jezebel, Dark Victory, The Letter, The Little Foxes, Now, Voyager, The Great Lie and In This Our Life. Sources consulted for background to Orry-Kelly's life and career include records in the Orry-Kelly File in the Warner Bros. Archives at the University of Southern California, and material gathered in Australia which has not been previously presented in an academic study. The study concludes that Orry-Kelly's costume concepts display an intuitive understanding of processes of human perception and behaviour, and knowledge of the requirements of the film medium, to convey the preferred meanings about characters and aid in story-telling.

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6

Contreras, Gilbert Joseph 1974. "Ending teen homelessness : a case study of Los Angeles Youth Network in Hollywood, California." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/65246.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1998.<br>In subtitle, the copyright symbol appears after the word California on t.p.<br>Includes bibliographical references (leaves 79-81).<br>by Gilbert Joseph Contreras, Jr.<br>M.C.P.

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7

Sterckx, Laurent S. S. "Systèmes de signification dans le cinéma classique hollywoodien: l'exemple de la comédie sophistiquée." Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212325.

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8

Granville, Scott. "Mapping the Geographical and Literary Boundaries of Los Angeles: A Real and Imagined City." The University of Waikato, 2007. http://hdl.handle.net/10289/2359.

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In Los Angeles, the influence of Hollywood and the film industry, combined with a non-stop barrage of media images, has blurred the line between the real and imaged. The literature reveals a city exploding with cultural, racial and social differences, making Los Angeles a confusing and alienating place. The literature of Los Angeles reflects the changing face of the city. Los Angeles was always a city with a promising future, economic booms and optimism seemed to suggest that here was a place where the American Dream really could come true. Thousands travelled west in search of sunshine, oranges and a life that formerly, they could only dream of having. Yet, the literature of Los Angeles has highlighted the city's actual history together with a realization of undercurrents of violence, prejudice, depression and shattered dreams. The past, present and future is used to reveal a city that is in stark opposition to the Los Angeles, waves of immigrants came to find. This thesis explores the idea of the dreamer coming west to Los Angeles within the literature and the variety of ways in the travellers' romantic notions of Los Angeles as a city of promise, is betrayed, leaving a desperate people in its wake. The literature shows that beneath the shiny surface of a city founded on sunshine and prosperity, corruption reached all levels of society and the 'mean streets' abound. Later, influenced by an overwhelming feeling of powerlessness caused by Post-war nuclear depression, McCarthyism, loss of identity, and living in a city fragmented by racial tension and an ever growing gap between the very rich and the very poor, the literature of Los Angeles reflects not only the fears of that city, but of American society as a whole. The collision of technology, rapid progression and population explosion turned Los Angeles into a disconnected city, where the real and imagined merge in a cityscape that demonstrates a conflicting combination of historical replication, original design and movie-set inspiration. Nothing is ever what it appears to be in Los Angeles.

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9

Oltmann, Katrin. "Remake - Premake Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960." Bielefeld Transcript, 2006. http://d-nb.info/984273557/04.

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10

Mills, Jane Kathryn. "Hollywood and its others porous borders and creative tensions in the transnational screenscape /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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Thesis (Ph.D) -- University of Western Sydney, 2007.<br>A thesis submitted to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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11

Fenske, Uta. "Mannsbilder : eine geschlechterhistorische Betrachtung von Hollywoodfilmen 1946 - 1960 /." Bielefeld : Transcript, 2008. http://d-nb.info/986757047/04.

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12

Böhnke, Alexander. "Paratexte des Films : über die Grenzen des filmischen Universums /." Bielefeld : Transcript, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015439218&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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13

Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.

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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.

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14

Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.

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15

Caston, Emily Katherine. "Hollywood film narratives relating to angelic intervention 1933-1955 : tradition and community." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614982.

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16

Cagle, Natalie Kenra. "Costume Design and Production for City of AngelsBook by Larry Gelbart, Music by Cy Coleman, and Lyrics by David Zippel." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437645350.

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17

Brophy, Mary-Beth. "Some lost bliss : tracing the dark night of the soul in Jack Kerouac's 'Visions of Gerard', 'The dharma bums', 'Desolation angels', and 'Big Sur' : and an excerpt from the novel 'Mayor of Hollywood'." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2132.

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The research and creative portions of this thesis develop from the various responses individuals experience in the wake of a loss. The research into the evolution of faith in author Jack Kerouac's 'Duluoz Legend' and the central storyline of the novel 'Mayor of Hollywood' spring from the same well: the crossroads between death and faith. The research piece concerns itself with Kerouac's exploration of the spiritual interior in the wake of the death of his protagonist's older brother, developing a personal faith that blends Buddhism and Catholicism unfettered by formal religious practice, mirroring instead an older path of Catholic mysticism. Mayor of Hollywood explores the opposite side of the religious coin: the protagonist, Lucy Cassidy, has little compelling interest in her own spiritual existence but must address the practicalities of her partner's formal practice of Catholicism, including dietary restrictions, regular worship, moral strictures, and the religious formalization of the guilt process. At the same time, Lucy and Mark must resolve several deaths that have occurred, substituting the secular path of crime detection for the more spiritual quest to reunite with God. Linked by the shared topic of death, the two halves of the thesis address faith as a whole, exploring the interior and exterior spiritual life.

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18

Jericho, Greg. "Hollywood dreaming: satires of Hollywood 1930-2003." Thesis, 2004. https://researchonline.jcu.edu.au/1115/1/01front.pdf.

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This thesis examines film and literary satires of Hollywood 1930 – 2003 and asserts that such satires are attacks on the Hollywood Dream. The study reveals that these satires focus on two common themes: the artificiality of Hollywood, and the amoral and corruptive nature of Hollywood. The study examines the depiction of the Hollywood Dream within satires of the industry and demonstrates its increasing importance in American culture. The similarity of themes in film and literary satires highlights an interesting dialogue between the two modes which has not been thoroughly investigated. Although satirists’ approaches towards the artificiality of Hollywood vary greatly, the most significant treatment of the theme in both literary and film satires is one which gains much understanding through use of Jean Baudrillard’s theory of simulacra and simulation. My examination also investigates the tendency of characters within satires of Hollywood to discard previous identities and create in their place a Hollywood identity. Such an identity is linked to the artificiality of Hollywood and is displayed by satirists as a prerequisite for one wishing to achieve the Hollywood Dream. While there have been numerous studies on novels on the Hollywood industry and its films, this study is unique in examining both literary and film satires of Hollywood together, and covering such an extended period of time. It hopes to show that satires of Hollywood have reached a critical juncture. The satire of many recent works has become moribund due to the public’s awareness of and apathetic attitude towards the amorality and hypocrisy of Hollywood, and because these satires fail to acknowledge the intrinsic artificiality of Hollywood.

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19

Jericho, Greg. "Hollywood dreaming : satires of Hollywood 1930-2003 /." 2004. http://eprints.jcu.edu.au/1115/1/01front.pdf.

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This thesis examines film and literary satires of Hollywood 1930 – 2003 and asserts that such satires are attacks on the Hollywood Dream. The study reveals that these satires focus on two common themes: the artificiality of Hollywood, and the amoral and corruptive nature of Hollywood. The study examines the depiction of the Hollywood Dream within satires of the industry and demonstrates its increasing importance in American culture. The similarity of themes in film and literary satires highlights an interesting dialogue between the two modes which has not been thoroughly investigated. Although satirists’ approaches towards the artificiality of Hollywood vary greatly, the most significant treatment of the theme in both literary and film satires is one which gains much understanding through use of Jean Baudrillard’s theory of simulacra and simulation. My examination also investigates the tendency of characters within satires of Hollywood to discard previous identities and create in their place a Hollywood identity. Such an identity is linked to the artificiality of Hollywood and is displayed by satirists as a prerequisite for one wishing to achieve the Hollywood Dream. While there have been numerous studies on novels on the Hollywood industry and its films, this study is unique in examining both literary and film satires of Hollywood together, and covering such an extended period of time. It hopes to show that satires of Hollywood have reached a critical juncture. The satire of many recent works has become moribund due to the public’s awareness of and apathetic attitude towards the amorality and hypocrisy of Hollywood, and because these satires fail to acknowledge the intrinsic artificiality of Hollywood.

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20

Orey, Spencer Dwight. "The Dream Refinery: Psychics, Spirituality and Hollywood in Los Angeles." Diss., 2016. http://hdl.handle.net/10161/13411.

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<p>This ethnography examines the relationship between mass-mediated aspirations and spiritual practice in Los Angeles. Creative workers like actors, producers, and writers come to L.A. to pursue dreams of stardom, especially in the Hollywood film and television media industries. For most, a “big break” into their chosen field remains perpetually out of reach despite their constant efforts. Expensive workshops like acting classes, networking events, and chance encounters are seen as keys to Hollywood success. Within this world, rumors swirl of big breaks for devotees in the city’s spiritual and religious organizations. For others, it is in consultations with local spiritual advisors like professional psychics that they navigate everyday decisions of how to achieve success in Hollywood. As Hollywood attracts creative workers, the longstanding spiritual economy in its shadow attracts spiritual practitioners from around the world, some of whom seek to launch high-profile spiritual careers for themselves by advising other dreamers in Los Angeles.</p><p>At stake is how contemporary spiritual organizations and media industries co-create mass aspirations that circulate globally and become lucrative projects in the pursuit of their fulfillment in Los Angeles. Taking up Hortense Powdermaker’s famous description of Hollywood as a “dream factory,” I call attention to the “dream refinery” at work throughout Los Angeles. Through attention to spirituality, I examine how mass-mediated aspirations become embodied by individuals and then made into local projects that can be refined, influenced, and transformed. Hollywood has long been closed for ethnographic access. My work shows that Hollywood and its global influence can be accessed through para-industries to Hollywood. In the shadow of Hollywood, many people and industries work on the dreams of aspirational individuals. By foregrounding spirituality in Los Angeles as a spiritual economy made up of interconnected industries, I examine the historical and contemporary proliferation of spiritual groups, practitioners, and professionals in Los Angeles. Tracking the work of professionals like psychics who work on the dreams of their clients, I follow the dreams and struggles of aspirational individuals in Los Angeles. I examine the consequences that turning to spirituality can have on dreams, the worlds that emerge out of imbuing aspirations with spirituality, and various forms through which spiritual industries appeal to aspirational populations. Based on longterm ethnographic fieldwork with professional psychics, spiritual practitioners, media professionals, and Hollywood hopefuls, my research examines the spiritual economy of Hollywood dreams in Los Angeles.</p><br>Dissertation

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21

Mills, Jane Kathryn, University of Western Sydney, College of Arts, and School of Humanities and Languages. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.<br>Doctor of Philosophy (PhD)

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22

Rust, Stephen A. "Hollywood at the Tipping Point: Blockbuster Cinema, Globalization, and the Cultural Logic of Ecology." Thesis, 2012. http://hdl.handle.net/1794/12299.

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190 pages<br>Twenty-first century American cinema is permeated by images of globalization and environmental change. Responding to what Yale researchers have described as a “sea change” in public perceptions of global warming occurring between 2004 and 2007, this dissertation provides the first extended examination of Hollywood’s response to the planet’s most pressing social and environmental challenge – global climate change. Among the most widely distributed and consumed forms of popular culture, Hollywood blockbuster films provide a unique textual window into the cultural logic of ecology during this important turning point in Americans’ perceptions of environmental risk. The term “cultural logic of ecology” is defined as the collective cultural expression of a society’s dominant perceptions and enactments of its relationships with other organisms and their shared bio-physical environments. Surveying the history of climate cinema, my second chapter examines the production and reception contexts of the two films most responsible for renewing public interest in global warming: The Day After Tomorrow (2004) and An Inconvenient Truth (2006). Despite their generic differences, both films combine the formal techniques of melodrama and realism to translate the science of global warming into a moral vernacular. In subsequent chapters, I further intertwine textual and historical analysis to examine other films released during the period that portray aspects of global warming. Considered a children’s film, Happy Feet (2006) employs digital animation to illustrate the ecological impacts of globalization on Antarctica, thus presenting viewers with a more accurate picture of the threats facing emperor penguins than did the documentary March of the Penguins (2005). I next analyze There Will Be Blood (2007) as a critique of patriarchy and natural resource exploitation that resonated with American filmgoers as oil prices were skyrocketing and President George W. Bush admitted “America is addicted to oil.” Consumed on Imax screens and iPods, and as toys, t-shirts, and video games, blockbusters leave massive cultural and carbon footprints. I conclude by arguing that ecocritical scholarship offers the most effective scholarly toolkit for understanding contemporary cinema as a cultural, textual, and material phenomenon.<br>Committee in charge: Dr. Michael Aronson, Chairperson; Dr. Sangita Gopal, Member; Dr. Louise Westling, Member; Dr. Jon Lewis, Member, from Oregon StateUniversity; Dr. Patrick Bartlein, Outside Member

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