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1
Lacaze, Gerowyn. "Negotiating meaning : a handbook for performance direction for the screen." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35846/1/35846_Lacaze_1999.pdf.
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The purpose of this study is to investigate directing, especially from the perspective of a director's relationship with actors. It is intended as a resource
for beginning film makers, including an investigation of current beliefs and practices of both experienced and beginning directors, a workbook of exercises, a documentary illustrating these techniques and a short film that exemplifies performance gained through adherence to a selection of these techniques.
The key focus of this study is to produce a resource that aims to give directors an understanding of possible approaches to facilitating productive actor -
director relationships. It deals with techniques that relate specifically to one of their human resources - the actors. Developing performance in actors assists directors to enhance the integrity of their films, empowering them through a shared language that effectively communicates with actors. Individuals wishing to work as film and television directors require an understanding of the craft of acting and how it fits in this medium. Specifically, they need to demonstrate conceptual originality and logistic viability while harnessing the diverse talents and skills of a creative team. Therefore, directors need to speak a common language, which draws together the interpretative skills of this team. This study aims to develop skills in communication with actors.
2
Ferreira, Douglas de Magalhães. "Guerra conjugal : o cinema antropofágico de Joaquim Pedro de Andrade /." Araraquara, 2015. http://hdl.handle.net/11449/127915.
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Orientador: Maria de Lourdes Ortiz Gandini BaldanBanca: Sylvia Helena Telarolli
Banca: Leonardo Francisco Soares
Resumo: O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência
Abstract: The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after
Mestre
3
O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ferreira, Douglas de Magalhães [UNESP]. "Guerra conjugal: o cinema antropofágico de Joaquim Pedro de Andrade." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127915.
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000846709.pdf: 1378680 bytes, checksum: 37bad6fce3c0157227ab5f84bb71fee7 (MD5)O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência
The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after
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Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Nunes, Caue 1977. "Documentário, falso e ciência : ancoragens e decolagens." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270575.
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Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Essa pesquisa propõe uma investigação sobre o documentário audiovisual e sua interlocução com o conceito de "falso", a partir de alguns filmes que se utilizam de narrativas que mesclam "ficção" com "documentário". Ao final, há uma proposta de roteiro de um falso documentário cujo tema é a ciência, o terceiro elemento que dialoga com os conceitos de "documentário" e "falso"
Abstract: This research proposes an investigation into the audiovisual documentary and its dialogue with the concept of "false", from some movies that use narratives that mix "fiction" with "documentary". At the end, there is a proposed script for a fake documentary whose subject is science, the third element that dialogues with the concepts of "documentary" and "false"
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
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Wong, Suet-lan, and 黃雪蘭. "Hong Kong cinema made international: the action cinema of Bruce Lee and Jackie Chan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951764.
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Gallagher, Mark. "Action figures : spectacular masculinity in the contemporary action film and the contemporary American novel /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978590.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 320-335). Includes filmography (leaves 335-337). Also available for download via the World Wide Web; free to University of Oregon users.
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Hart, Hilary. "Sentimental spectacles : the sentimental novel, natural language, and early film performance /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120625.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.
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Wong, Suet-lan. "Hong Kong cinema made international : the action cinema of Bruce Lee and Jackie Chan /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059796.
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Blose, Chris. "Ideas in action : film theory in film criticism /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421115.
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McDonald, Paul. "Public bodies, private moments : method acting and American cinema in the 1950s." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/34659/.
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The thesis deals with two central issues: a) the construction of a framework for the study of film acting which places performance in a cultural context b) the cultural significance of Method acting during the 1950s with specific reference to American cinema of the period The first chapter considers the ways in which the voice and body in film acting are made meaningful in the context of beliefs about acting and personal identity. The chapter also proposes ways for situating the practical activity of film acting in a context of cultural production. The remaining chapters study the cultural significance of Method acting through separate analyses of the Method technique, style, representation of gender, and image of star performance. Readings of the Method technique and style are placed in the context of a `culture of personality', in which the significance of the Method was produced in the ways that acting signified beliefs about personal identity. The discussion of the Method style is then developed in the analysis of the ways in which the style was used in film melodramas to represent the gendered anxieties of the rebel hero. Finally, Marlon Brando's image and performances are studied for how the actor personified the meaning of the Method. Together, technique, style, gender representation, and stardom, are studied as various aspects of what is called the Method discourse.
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Vanhala, Helena. "Hollywood portrayal of modern international terrorism in blockbuster action-adventure films : from the Iran hostage crisis to September 11, 2001 /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181135.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes filmography (leaves 435-448) and bibliographical references (leaves 454-471). Also available for download via the World Wide Web; free to University of Oregon users.
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Tasker, Yvonne. "Spectacular bodies : gender, genre and the action cinema." Thesis, University of Warwick, 1995. http://wrap.warwick.ac.uk/2988/.
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The dissertation presents an account of the contemporary American action cinema. The themes, stereotypes and iconography associated with the genre are explored through detailed discussion of film examples. Films are also situated in relation to the particular context of production and consumption associated with 'new Hollywood', including genre hybrids, the blockbuster as a form and the importance of new forms of distribution such as home video. Though framed as a genre study, the account is also centrally concerned with an exploration of gender. The dissertation presents an account of the articulation of masculinity within the genre and engages with developing debates in this field. It is suggested that contemporary images of men, widely discussed as new, can be usefully explored in relation to the generic history from which they emerge. The articulation of masculinity in the genre is explored through both genre codes and star images. Recent distinctive roles for women in the action cinema are further situated in a generic context. The research also explores the contention that representations of gender should be understood within an exploration of other discourses including race, class and sexuality. The place of black performers in the genre is discussed, and the extent to which recent films reiterate and/or develop existing stereotypes is addressed in this context. The limitations of ideological and narrative analysis in relation to a political exploration of the popular cinema is explored, with a consideration of cinematic spectacle and the place of fantasy identifications and symbolic configurations of power. The political ambivalence of popular imagery is emphasised in this context. It is argued that action films, which are often dismissed as simplistic in political terms articulate complex configurations of gendered and other identities.
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Roesch, Matthew. "Les Sensations fortes: The phenomenological aesthetics of the French action film." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1499821478202158.
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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.
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Hutton, Leon Matthew. "The formation of the Legion of Decency the shaping of an American Catholic identity /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Kussman, Soosun Kim. "Aucun de nous ne reviendra the journey of working through trauma /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1249779135.
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
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Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Assefa, Emrakeb. "An investigation into the popularity of American action movies shown in informal video houses in Addis Ababa, Ethiopia." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002871.
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The early 1990s saw a major change in the Ethiopian history in so far as Ethiopian media consumption practices was concerned. With the change of government in 1991, the ‘Iron Curtail’ prohibiting the dissemination of Western symbolic products within the country was lifted which in turn led to a surge in demand for Western predominantly American media texts. In order to supply this new demand, informal video houses showing primarily American action movies were opened in Addis Ababa. There was a significant shift in Ethiopians’ films consumption practices which were previously limited to watching films produced by socialist countries mainly the former Soviet Union. This study set out to probe reasons for the attraction of American action movies shown in video-viewing houses in Addis Ababa, Ethiopia amongst the urban unemployed male youth. Particularly, it examines how the meanings produced by and embedded in the cultural industries of the West are appropriated in the day-to-day lives of the youth. The importance of video houses as a shared male cultural space for Ethiopian unemployed youth and the watching of American action movies in this space are the main entry and focus of this study. Using qualitative methods such as observation, in-depth interviews and focus group discussions, the study explores what happens in this cultural space and how one makes sense of the impact of American media on local audiences. The findings of the study point to the embeddedness of viewing practice in everyday life and the importance of local contexts in understanding text-reader interaction. This is shown by the male youth’s tendency to use media messages as a mode of escape and a symbolic distancing from their lived impoverished reality. The study also seeks to highlight that the video houses as cultural space have contributed to the creation of marginal male youth identities in the Ethiopian patriarchal society. As such, these and other findings, the study argues, highlight the deficiencies of the media imperialism thesis with its definitive claims for cultural homogenisation as effect of globalisation of media. As such, this study should be read as emphasising the capability of local audience groups in Third World country like Ethiopia to construct their own meanings and thus their own local cultures and identities, even in the face of their virtually complete dependence on the image flows distributed by the transnational culture industries.
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Ellis, Erin Jean. "The “German” and “Nazi” In Chaplin’s The Great Dictator, Capra’s The Nazis Strike and Hitchcock’s Lifeboat." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241211595.
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Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.
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The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.
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Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.
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Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
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Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film.
The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema.
The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity.
Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
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Watson, Robert Stewart. "Richard Rorty, innovation strategies & movie inspiration." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41465/1/Robert_Watson_Thesis.pdf.
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Movie innovation is a conversation between screenwriters and producers in our mixed economy – a concept of innovation supported by Richard Rorty and Aristole's Poetics. During innovation conversations, inspired writers describe fresh movie actions to empathetic producers. Some inspired actions may confuse. Writers and producers use strategies to inquire about confusing actions. This Australian study redescribes 25 writer-producer strategies in the one place for the first time. It adds a new strategy. And, with more evidence than the current literature, it investigates writer inspiration, which drives film innovation. It reports inspiration in pioneering, verifiable detail.
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Baker, Kenneth Rex III. "Lights, Camera, Creating Heroes in Action: Claus von Stauffenberg and the July 20th Conspirators in German and American Filmic Representations of the July 20th Plot." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241204154.
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Goodwill, Jo-Anne Shirley. "The action hero revisioned : an analysis of female "masculinity" in the new female hero in recent filmic texts." Diss., 2009. http://hdl.handle.net/10500/2641.
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The hero is a key archetype in Western culture. However, the hero has almost invariably been male, with associated traits deemed “masculine” within the gender binary. Feminists have begun to rigorously interrogate this binary, and the associated biological essentialism that precludes women from heroism. The fruits of this process are evident in recent popular filmic texts, which feature women as heroes. I examine developments in gender theory, propose a behaviour-based definition of masculinity, and argue that the new female action heroes authentically perform this masculinity. I then examine several select recent films and television series, showing that the new female action hero proves that “masculinity” can be authentically performed by female-bodied persons, and moreover is a liberatory model for ordinary women who wish to assert themselves in the public sphere. Finally, I argue that female action heroes model a new heroic archetype which embraces the best traits of both “masculinity” and “femininity.”
Keywords
“women in popular culture”
“women as heroes”
“gender studies”
“filmEnglish Studies
M.A. (English)
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Christie, Elizabeth. "Explosions in the narrative action films with Lacan /." 2006. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20071121.092301/index.html.
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Goncalves, Raymond Carlos McClure. "Pausing dramatic tension within contemporary action cinema: the relationship between time slicing/slow motion and suspenseful situations in action feature films through praxis lead research." Thesis, 2016. http://hdl.handle.net/10539/22226.
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Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up.
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Smolen-Morton, Shawn R. "Acting the child: Separating the infantile from the masculine in film and literature, 1835–1985." 2004. https://scholarworks.umass.edu/dissertations/AAI3152746.
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Acting the Child examines the ways in which adult male characters in film and literature from Europe and America can use the role of the child to their political and emotional advantage. As childhood became an increasingly powerful cultural concept, adult men accessed that power to define themselves and organize social relationships. The thesis proposes “infantilization” as a term to describe how these characters act like children or force other characters into the role of the child. The thesis analyzes key moments in the development of infantilization in the nineteenth and twentieth centuries. The first chapter explores the uses of infantilization, which produce strong effects in Honoré de Balzac's Le Père Goriot and Splendeurs et misères des courtisanes. These novels demonstrate the ways in which infantilization creates surrogate families in Parisian society. These roles can define and justify extramarital affairs or same sex relationships, which have no legitimate expression. The second chapter demonstrates how H. G. Wells' criticisms of Victorian culture and politics often revolve around male identity such as the scientist-adventurer. As the concepts of boyhood and girlhood solidified, they could describe individual adults or entire social groups. Infantilization was already part of the political discourse, and my thesis demonstrates how Wells challenged these categories. The third chapter extends the analysis of aggressive, masculine characters by examining D. W. Griffith's The Avenging Conscience (1914) and Broken Blossoms (1919) in conjunction with a selection of American recruitment posters for World War I. The analysis shows that World War I had a profound impact on infantilization. Griffith's satirical representation of the man-child subtly criticizes World War I and echoes Wells's attack on Empire. The last chapter explores the effects of the war on infantilization by analyzing three delayed responses: Bernward Vesper's The Trip, Alfons Heck's A Child of Hitler, and Rainer Werner Fassbinder's In a Year of Thirteen Moons. Like Fassbinder, I find German adults acting like children in order to cope with a troubled present.
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Watson, Nessim John. "Action movie Arabs and the American call to endless war: The role of American Orientalism in organizing the United States "response" to the 9/11 attacks." 2005. https://scholarworks.umass.edu/dissertations/AAI3193956.
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This history of American Orientalism uses articulation theory to map the processes by which discourse around the representation of Arabs and Muslims moved from the symbolic to the material, resulting in public support for the 2003 War on Iraq. By tracing the circulation of images and meanings in both American popular culture and U.S. foreign policy, this dissertation argues that American Orientalism from the former, was increasingly drawn upon by foreign policy makers to nullify the so-called "Vietnam Syndrome," the American public's learned aversion to direct military intervention abroad. The action movie genre, and its use of American Orientalism to construct an American identity in binary opposition to its Arab Other, are shown to have contributed to the rise of a neo-conservative foreign policy paradigm in the United States, beginning with the 1991 Gulf War, and advancing to full dominance with George W. Bush's open declaration of his "War on Terror," based on a pre-emptive and potentially unlimited war doctrine. The contradictory constructions of the Middle East and their non-essential correspondences to changing economic, political and cultural contexts, are demonstrated by following the development of American Orientalism in U.S. culture and foreign policy discourse since the late 1800's, using a communication influenced, critical cultural studies approach guided by the theories of Antonio Gramsci, Edward Said, and Stuart Hall. The representative opposition of Arab and American identities, and American Orientalism's internal consistency across disparate spheres of discourse, are shown to have increased around the Arab-Israeli Wars of 1967 and 1973, as well as the 1979 Islamic revolution in Iran, conflating representations of Arabs, of Muslims, and of terrorism. Action movies of the 1980's and 1990's constructed a new American identity, whose politics, articulated to neo-conservative calls for a "resurgent America," are potentially more damaging than Hollywood's proliferation of Arab stereotypes. This dissertation closely examines the presence of American Orientalism, and accompanying support for neo-conservativism, in the public relations strategies of the 1991 Gulf War, in the films True Lies, Executive Decision, and The Siege, and in the televised statements of George W. Bush given during the days after September 11, 2001.
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Schweiger, Sophie Johanna. "Acting Bodies. The Role of Gestures in German Drama, Film, and Performance." Thesis, 2021. https://doi.org/10.7916/d8-n4rh-9255.
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The dissertation undertakes an extensive investigation of the role of the gesture – from Lessing to emoji. Through close readings of bodily gestures as inscribed in text, documented on film, employed in performance, and shared throughout the cyberspace, the dissertation demonstrates how the human body has been imagined, conceptualized, and disciplined at various points since the second half of the 18th century.
Presenting a reading of the body through the lens of different media, the analyses bring forth moments of disidentification and friction between medium and body: be that in gestural disobedience to ordered stage instructions, in resistance to the demands of the filmic apparatus, or in the form of a non-white emoji. To extrapolate historical developments and also processes of quotation and transference across media, material from different periods and disciplines is assembled: from unpublished manuscripts of the early Enlightenment (G. E. Lessing) via filmic footage from the late Weimar period (G. W. Pabst), to post-dramatic theatre performances around 2000 (Chr. Schlingensief), all the way up to present-day exchanges on social media platforms.
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Mehta, Shubham. "Adapting Manga to live action." Thesis, 2016. http://hdl.handle.net/10539/22637.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television.For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation.
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Assefa, Emrakeb. "An investigation into the popularity of American action movies shown in informal video houses in Addis Ababa, Ethiopia /." 2005. http://eprints.ru.ac.za/319/.
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Pascoe, Gerald James. "A qualitative textual and comparative analysis of the representation of masculinity in the action and romantic comedy genres." Diss., 2013. http://hdl.handle.net/10500/9027.
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This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity.
In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992).
The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity.Communication Science
M.A. (Communication)