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Dissertations / Theses on the topic 'Landscape in cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Runciman, Nicola. "Image, process, experience : exploring the landscapes of Chilean cinema (2008-2014)." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/image-process-experience-exploring-the-landscapes-of-chilean-cinema-20082014(99445434-2fd9-466a-96ec-4f62785fd93f).html.

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This thesis explores representations of landscape in Chilean fiction cinema from 2008 to 2014, through a corpus drawn from the so-called novisimo cine chileno, a generation of young filmmakers who have attracted significant critical attention both within Chile and on international festival and arthouse circuits. The thesis is built on close readings of the selected films within a conceptual framework informed by interdisciplinary perspectives from the developing field of landscape studies. It aims to show how these cinematic landscapes function beyond the limitations of narrative setting or sy

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Wu, I.-Fen. "Taiwanese new wave cinema : historical representation and cultural landscape." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369363.

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Soroka, Ian Jacob. "Eroding the palimpsest : landscape, cinema and the site of history." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/99303.

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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 108-113).<br>The thesis will explore the migration of content between forms, specifically between cinema and text. By reflexively interrogating my film Dry Country, and drawing a thread through Yugoslav film history and Slovenian history (1941-present), I will map what happens when the record of what has been captured in the film's production confronts a language, be it text or montage. The p

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Pugh, Catherine. "Unhuman borderlands : madness, metamorphic monsters and landscape in contemporary horror cinema." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654533.

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In this thesis, I examine metamorphic monsters and their landscapes as representatives of madness, offering a new framework for understanding the horror genre. I argue that parallels between these entities in twenty-first century American and British horror cinema evoke madness (the dramatic counterpart of mental illness), which can transform everything it touches, including identity, body and landscape. This thesis builds on work by, among others, Bellin, Tudor, Frayling and Clover, developing their theories to propose a new analysis of the metamorphic monster as a figure of madness. I apply

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Gustafsson, Henrik. "Out of Site : Landscape and Cultural Reflexivity in New Hollywood Cinema 1969-1974." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6790.

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This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and sys

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Latsis, Dimitrios. "Nature's nation on the move: the American landscape between art and cinema, 1867-1939." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5798.

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This dissertation traces a half-century of interactions between motion pictures and other visual media, using scenery as a node of meaning-making that affected key aspects of cinema as a medium: narrative, mode of documenting the natural world, propaganda tool, conduit of ‘ experience’ for American modernity. Exploring often-ignored aspects of visual culture like set design, moving panoramas and art exhibitions, it argues for the cross-disciplinary importance of landscape in debates around nationhood, empire, environmental blight and the relation between style and ideology, as they played out

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Simpson, Catherine. "Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /." Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholar

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Charles, Morgan Julia. "La Maison où j'ai grandi: the changing landscape of nostalgia in Quebec's contemporary coming-of-age films." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66716.

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This study examines the role of nostalgia in contemporary Quebec cinema through the analysis of two recent coming-of-age films set in the 1960s: Maman est chez le coiffeur (Léa Pool, 2008) and C'est pas moi, je le jure! (Philippe Falardeau, 2008). While the "nostalgia film" has been roundly criticized for promoting a superficial engagement with history, and a dangerous withdrawal from the present, I argue that in the context of Quebec, it should be understood as performing important critical work. Given the long and influential ties between the coming-of-age film, the family

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Cooledge, Dean R. "Beneath the urban landscape: Some versions of American pastoralism in urban literature, art, and film." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280163.

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In this dissertation I explore the relationship between the city and the pastoral ideal in America. While not meant to be a comprehensive discussion of Urban Pastoralism, I want to focus my attention on the pastoral impulse one experiences within the city. Some versions of American Pastoralism emphasize the city as a complex wilderness, which creates within its inhabitants a pastoral impulse for a simpler mode (Golden Age) outside the boundaries of the city. However, the inability of the subject in art, literature, and film, to escape from the city forces the subject to seek a symbolic pastora

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Nascimento, Renato Alves do. "A paisagem narrativa do nordeste e dos nordestinos nos filmes de Vladimir Carvalho." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-11122012-091944/.

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A paisagem narrativa é um conceito abstrato de movimento que se concretiza na observação da paisagem física, histórica e geográfica, assim como na paisagem fílmica. Aqui, a paisagem geográfica é analisada sob o ponto de vista de uma geografia retrospectiva, numa leitura de narrativização, a partir das imagens de filmes documentários. Essa leitura é feita no intuito de compreender como o Nordeste e os nordestinos são representados no discurso imagético da narrativa fílmica. Para isso, foram analisados os documentários Os Romeiros da Guia (1962), A Bolandeira (1968) e O Homem de Areia (1982), fo

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Swanson, Ginger. "The other woman| Explored through 100 years of film, the psychic landscape of dreams, and the lived experiences of Anais Nin and Sabina Spielrein." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687860.

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<p> The purpose of this organic inquiry and alchemical hermeneutic study was to explore the nature, essence, and archetype of <i>the other woman </i> with the goal of understanding how and why women become involved in triadic relationships. The study seeks to comprehend the lived experience of the other woman, including her history, character, behavior, ideologies, and desires. This study explored how and why other women are <i>othered </i> (i.e., cast out or rejected) in society, and the resultant effects upon them. A further goal of the work was to understand the dynamics of the triadic rela

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Silva, José Nazareno da. "Os dois Orfeus, representações da paisagem favela no cinema: o olhar estrangeiro e o olhar de pertencimento." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3167.

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Esta dissertação apresenta uma reflexão focada na análise geográfico-cultural da paisagem favela na cidade do Rio de Janeiro e em sua representação no cinema, pelo discurso fílmico presente nas obras Orfeu negro (1959), de Marcel Camus e Orfeu (1999) de Carlos Diegues. Tal discurso emerge como instrumento de compreensão do processo evolutivo que gerou uma espécie de linhagem da favela na cidade. Os quarenta anos passados entre os dois Orfeus e as paisagens reais e ficcionais, da favela neles presentes espelham um rico contínuo espaço-tempo. Quarenta anos de mudanças na história do mundo, da c

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Droin, Nicolas. "Paysage et dépaysement dans l’œuvre de Michelangelo Antonioni : de "Blow Up" à "Identification d’une femme"." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100175/document.

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L’œuvre d’Antonioni constitue un champ privilégié pour initier une étude du paysage dans l’art cinématographique. Notre étude se focalise sur le dépaysement cinématographique d’Antonioni, de Blow up (1966) à son retour en Italie avec Identification d’une femme (1982). Notre étude vise à marquer l’importance d’une conception mouvante et cinéplastique du paysage, intégrant la question du montage, du mouvement (de l’image et dans l’image), pour dégager les forces rythmiques, métamorphiques et plastiques de l’image-paysage au cinéma. A partir de ces forces, nous souhaitons ouvrir la question du pa

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Soares, Camilo. "L'espace immatériel dans le cinéma de Jia Zhangke : une politique du regard." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H304/document.

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La présente thèse propose d’analyser l’approche de l’espace dans le cinéma de Jia Zhangke, le réalisateur le plus représentatif, avec Wang Bing, de la génération indépendante (ou sixième génération) du cinéma chinois, comme une appréhension dialectique, consciente des discours qu’engendrent la représentation du réel. La construction de l’espace dans ses films est ainsi une forme d’engager, par le jugement esthétique, une conscience politique du spectateur à l’appréhension du monde. Jia ainsi fait du registre cinématographique à la fois le témoin privilégié du processus de changements de la Chi

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Marins, Dirceu Carlos 1968. "Deriva e outsiders = modulações nas paisagens afetivas de Clint Eastwood." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280448.

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Orientador: Jorge Sidney Coli Júnior<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-19T16:21:05Z (GMT). No. of bitstreams: 1 Marins_DirceuCarlos_D.pdf: 12469254 bytes, checksum: a5f688b813a1ecb14cc07ff2da39c473 (MD5) Previous issue date: 2012<br>Resumo: A partir dos filmes dirigidos pelo cineasta norte-americano Clint Eastwood, a pesquisa procura estabelecer uma apreciação dessa produção audiovisual através da paisagem. As relações indiciárias encontradas traçam motivos estéticos que se tomou por um es

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Christin-Veyrenche, Sonia. "Percezione e visione del paesaggio nel cinema italiano da Sole a Deserto rosso (1929-1964) : le concordanze e le autonomie del rapporto con la letteratura." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100017.

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Le paysage représente un point de rencontre entre un modèle culturel et une perception. Ils existent deux types de paysages : celui que l’on peut concevoir comme objet d’observation et qui renvoie à un paysage pictural et artistique ; et le paysage vu en tant « qu’espace vécu » et qui appartient au domaine du paysage géographique. La littérature tout comme le cinéma, se sont depuis toujours intéressés à l’importance du paysage. Le regard que le cinéma porte sur le paysage fait référence à de nombreux modèles culturels, artistiques, littéraires et sociaux qui connaissent une évolution constante

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Randall, William Sanford. "How Methane Made the Mountain: The Material Ghost and the Technological Sublime in Methane Ghosts." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460722538.

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Heban, Thomas Edward. "Representations of Scale and Time: Reinterpreting Cinematic Conventions in Digital Animation to Create a Purposeful Visual Language." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430399136.

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Schmid, Marcel. "Landschaft und Archäologie im virtuellen 3D-Modell Beispiel „Ethno-Nature Park Uch-Enmek“ (Altai, Russland)." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-81806.

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Im Rahmen dieser Diplomarbeit entstand in Zusammenarbeit des Instituts für Kartographie der Technischen Universität Dresden und Archäologen der Universität Gent in Belgien ein dreidimensionales Landschaftsmodell einer Teilregion des Naturparks „Uch-Enmek“, gelegen in der Republik Altai. Diese Region beinhaltet die wichtigsten und größten bekannten Begräbnisstätten skythischen Ursprungs, für die es gilt, den Bekanntheitsgrad und das Bewusstsein dieses kulturellen Erbes durch diese Arbeit zu steigern. Im Zuge dessen wurden wichtige Geodaten, unter Berücksichtigung der prägenden Geoelemente einer

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Robinson, Jason. "Resolution." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2475.

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This paper is an exploration of the concepts and motivations behind the video installation and performance that made up my MFA Thesis Exhibition. My primary interest as a filmmaker is in the “invisible art” of editing. In my practice I employ iconic imagery such as old home movies and classic Hollywood films, as my source material. This “found footage” is deconstructed, drastically altered, and reassembled into a new movie that tells my story while still maintaining the memory of the original images. My process and philosophy concerning the salvage and repurposing of video is analyzed and disc

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Salvadó, Romero Alan. "Estètica del paisatge cinematogràfic : el découpage i la imatge en moviment com a formes de representació paisatgística." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/104479.

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La concepció occidental del paisatge, estretament lligada a la seva representació pictòrica, ha tendit a crear un imaginari paisatgístic de la unitat i la immobilitat que ha condicionat una part important de les reflexions estètiques al voltant del paisatge. L'objectiu d'aquesta tesi és plantejar els principis per una estètica del paisatge cinematogràfic fonamentada en les dues grans particularitats tècniques del cinema: el découpage i la imatge en moviment. Basant-nos en el diàleg intertextual entre cinema, pintura i literatura dibuixem una "altra història" del paisatge on la fragmentac

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Paradis-Barrère, Hugo. "La vie dénudée à l'épreuve du paysage ˸ une analyse des films érotiques et révolutionnaires de Kôji Wakamatsu et Masao Adachi." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA103/document.

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Au Japon, les années 1960 ouvrent une période de contestation politique et artistique. Dans un contexte de déclin des studios traditionnels, les films mettant l’accent sur des faits divers violents se développent en parallèle du Pinku Eiga, genre érotique. Des cinéastes comme Kôji Wakamatsu et Masao Adachi émergent, et avec eux des films où se mêlent nudité et velléités révolutionnaires, témoignant tant d’une interrogation proprement érotique des corps que d’une remise en question virulente de la société contemporaine. Le crime, la déviation deviennent autant de canaux de contestation, tandis

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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. Contr

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Vasconcellos, Diego Hoefel de. "Between Portraits and Landscapes: Essay on Face in Cinema." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12568.

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nÃo hÃ<br>The research is divided into three parts. The first is a study of the face and its relationship with the portrait, from classical definitions and approaches between the two concepts in art history. The second part of the dissertation deals with the face in film and concatenates the analysis of a few filmic propositions with different theoretical approaches as a way to reflect on the face in silent, classic and modern films. The vectorized face of classic cinema, treated as the main space of identification with the characters, operates differently from the deep face of modern cinema,

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Asté, Maylis. "Les représentations de la ruralité dans les films de fiction français du début des années 1990 au début des années 2010 : permanences et changements." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20067.

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À partir de l'étude d'un corpus de films de fiction sortis en salles entre 1990 et 2012 et dont l'action est située dans les campagnes françaises contemporaines, cette thèse analyse la construction des représentations de la ruralité française sous l'angle des tensions entre permanence et changements.En nous attachant à éclairer la démarche des cinéastes qui ont fait le choix d'ancrer leur récit dans les campagnes, nous questionnons l'influence de ce choix sur les techniques de narration, la mise en scène ou encore la distribution. Vivants portraits, les films sont autant de définitions de camp

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McCluskey, M. C. "Country, city, cinema : Humphrey Jennings and the landscapes of modern Britain." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1335901/.

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This thesis interrogates the production and projection of British landscapes in the films of Humphrey Jennings. I argue that Jennings’s films document the sights, sounds and spaces of British cities, suburbs and countrysides to reconcile divisions within the nation, to recall the shared history of the British people and to promote particular models of citizenship. My study brings to light Jennings’s consistent engagement with changes to British landscapes and with the representations and reputations that such changes contributed to national culture. The first chapter looks at a 1934 film that

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Gual, Bergas Joan Miquel. "De la picota a la piqueta: el Raval com a paisatge d'excepció a la imatge de no ficció entre La bomba del Liceu (1893) i Ciutat Morta (2015)." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392134.

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La idea del Raval com un paisatge d’excepció té una provinença triple. En primer lloc, el Raval (o Barri Xino) pot ser pensat com una geografia de les diferències radicals: degut a la seva composició social resulta pertinent la reflexió sobre la norma i l’excepció, sobre els conflictes i tensions derivats de la governamentalitat envers les i els subalterns. En segon lloc, la història del barri resulta indissociable de la història de la presó i resulta un bon cas de estudi per constatar allò que Deleuze definí com el pas de la societat de la disciplina a la societat del control. Finalment, es p

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Solis, Israel. "(Re)creating a hero's narrative through music| Different musical landscapes in six live action Batman films." Thesis, The University of Arizona, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3606914.

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<p> This dissertation uses an interdisciplinary approach that analyzes and compares the film scoring processes of Danny Elfman, Elliot Goldenthal, James Newton Howard and Hans Zimmer in characterizing the fictional hero Batman in film. This is accomplished by applying Classical Hollywood film scoring principles from the golden age of cinema, Juan Chattah's pragmatic and semiotic typologies regarding musical metaphoric expression, and psychology. This amalgamation demonstrates how the aforementioned film composers consider varying structural aspects of their music, i.e., formal design, melodi

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Chang, Hsin-Ning. "Viewing the Long Take in Post-World War II Films: A Cognitive Approach." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.

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Bruns, Christina Ann. "Contemporary German documentary cinema (1999-2007) : the rural represented, the regional defamiliarised and Heimat revived." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5698.

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The thesis identifies a development integral to contemporary German documentary cinema that has not yet been taken into academic consideration: namely a new will to depict the regional, the rural, or Heimat. I have organised the research under precisely these three thematic motifs: the rural (Chapter One), the regional (Chapter Two), and Heimat (Chapter Three). The importance of the rural and the regional has to date been largely overlooked by academics in the field of film studies. Yet in the context of Germany they are key cultural markers – both are fundamental to the deep‐rooted German cul

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Alcalá, Anguiano Fabiola. "Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso The Withe Diamond, Grizzly Man y The Wild Blue Yonder." Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7266.

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El objetivo de esta Tesis es el estudio de lo irónico-sublime como figura retórica en tres filmes de no-ficción de Werner Herzog: The White Diamond, Grizzly Man y The Wild Blue Yonder. <br/><br/>El texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con u

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Robillard, Guillaume. "Le «Cinéma antillais» (Guadeloupe, Martinique) : de la détermination à l'extinction de sa voix ?" Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H321.

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Existe-t-il un cinéma antillais ? Concentrant notre analyse sur les longs-métrages de fiction des réalisateurs antillais ou d’origine antillaise (pour les diasporas), qu’ils se déroulent majoritairement aux Antilles («cinéma antillais-péyi»), dans l’Hexagone («cinéma antillais-lòtbòdlo») ou à l’étranger («cinéma antillo-toutbò»), nous interrogeons les directions prises par ces films de production française. Considérant l’importance de l’oralité dans les sociétés antillaises, nous analysons les voix exprimées de ce cinéma qui l’habiteraient d’une «Antillanité» : dialogue établi entre, d’un côté

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Hirzel, Lara. "Châteaux intérieurs : du théâtre de la mémoire aux espaces imaginaires." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLEE057/document.

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Châteaux intérieurs, du théâtre de la mémoire aux espaces imaginaires est une thèse composée de trois films, d’une installation vidéo et de deux scénarios. Ces travaux reposent sur des interrogations liées au lieu et à sa mémoire. Des mnémotechniques rhétoriques de l’antiquité aux usages du flashback dans le montage cinématographique, cette recherche traverse les champs de la photographie, des arts plastiques, de la littérature et du cinéma afin d’inventer ses propres usages plastiques de concepts philo- sophiques. Chaque projet développe sa façon propre d’aborder le sujet de la représentation

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Hayashi, Sharon H. "Traveling film history : language and landscape in the Japanese cinema, 1931-1945 /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097113.

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Leclerc, Philippe. "Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick." Thèse, 2011. http://hdl.handle.net/1866/5338.

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Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les impl

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Durr, Jonathan Douglas. "'Seeing' song in Bollywood landscape, the postnational, and the song-and-dance sequence in Hindi popular cinema /." 2001. http://catalog.hathitrust.org/api/volumes/oclc/48043656.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2001.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 74-79).

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Silva, Tiago Jorge Campos Vieira Carvalho da. "A etnopaisagem no cinema português: consolidação e desconstrução de um conceito." Master's thesis, 2016. http://hdl.handle.net/1822/40993.

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Dissertação de mestrado em Comunicação, Arte e Cultura<br>A ideia de paisagem é permeada por sentidos ambíguos que estão relacionados com a utilização do termo a partir de diferentes disciplinas, seja a geografia, a arquitetura, a filosofia ou as práticas artísticas, e também dos critérios utilizados por cada sociedade na produção das espacialidades emergentes. A partir de uma reflexão da paisagem enquanto elemento primeiramente captado pelo olhar, materializado posteriormente pela pintura, que a condicionou tendo em conta uma função figurativa e narrativa, e, finalmente, emancipando-se c

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Emerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000." 2003. http://hdl.handle.net/2440/42129.

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France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course

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Séguin, Catherine. "Qualifications paysagères de la ville : l’espace aérien des toits de New York dans le cinéma américain (1980-2011)." Thèse, 2015. http://hdl.handle.net/1866/19276.

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Fafard-Blais, Émilie. "La ritournelle et le galop dans la musique romantique et le cinéma moderne." Thèse, 2010. http://hdl.handle.net/1866/4398.

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À partir de l’étude des concepts de la ritournelle et du galop chez Gilles Deleuze et Félix Guattari, le présent mémoire explore les fonctions temporelles de la musique dans le cinéma moderne. Ce concept de temporalité sera déplié en trois temps. En premier lieu, une relecture de la musique romantique permettra d’en développer les différentes articulations temporelles. Par la figure du compositeur incompris, reclus et exilé ainsi que par l’utilisation du fragment, la musique romantique se donne des personnages qui habitent la terre et fondent des territoires. Ensuite, parce qu’il s’agit de co

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Wojnarski, Kelly. "Sinister cine-scape: an ostranenie of the everyday through the films of Alfred Hitchcock." 2012. http://hdl.handle.net/1993/5256.

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Formal education is primarily based upon learning about space through static two-dimensional representations, while landscape architecture responds to the ever-changing spatial and temporal conditions of the material world. The film medium, with its illusion of movement and three-dimensionality, offers an easily accessible antidote to this conundrum. Although cinematic settings are often constructed to promote a particular narrative rather than emulate physical reality, these filmic worlds trigger powerful imagery which overwhelms the lived experience of space. Through the analysis of three se

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Schmid, Marcel. "Landschaft und Archäologie im virtuellen 3D-Modell Beispiel „Ethno-Nature Park Uch-Enmek“ (Altai, Russland)." Master's thesis, 2011. https://tud.qucosa.de/id/qucosa%3A25875.

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Im Rahmen dieser Diplomarbeit entstand in Zusammenarbeit des Instituts für Kartographie der Technischen Universität Dresden und Archäologen der Universität Gent in Belgien ein dreidimensionales Landschaftsmodell einer Teilregion des Naturparks „Uch-Enmek“, gelegen in der Republik Altai. Diese Region beinhaltet die wichtigsten und größten bekannten Begräbnisstätten skythischen Ursprungs, für die es gilt, den Bekanntheitsgrad und das Bewusstsein dieses kulturellen Erbes durch diese Arbeit zu steigern. Im Zuge dessen wurden wichtige Geodaten, unter Berücksichtigung der prägenden Geoelemente einer

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Amnotte-Dupuis, Antoine. "Appréhender le territoire par l'audiovisuel : d'une démarche à un dispositif en mouvance." Thèse, 2018. http://hdl.handle.net/1866/22035.

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Harrower, Natalie Dawn. "The Performance of Critical History in Contemporary Irish Theatre and Film." Thesis, 2009. http://hdl.handle.net/1807/17769.

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This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant con

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