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Dissertations / Theses on the topic 'Motion picture audiences'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Carboni, Camilla. "Film spectatorship and subjectivity : semiotics, complications, satisfactions." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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2

Matzkin, Rosalie Greenfield. "The film encounter in the life-world of urban couples : a uses and gratification study /." Access Digital Full Text version, 1985. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10538483.

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3

Zhao, Meng. "Understand the misunderstanding a study incorporating uses and gratifications theory on why Chinese film audiences see America the way they do /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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4

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)." Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.<br>Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).

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5

Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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6

Lupton, David, and emaylus@hotmail com. "Prolegomena to reflective film study : a Bourdieusian analysis of the economy of cinematic exchange." Swinburne University of Technology, 2004. http://adt.lib.swin.edu.au./public/adt-VSWT20050708.092149.

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What is unique to the experience of cinema that has ensured its ongoing popularity across generations of filmgoers? As both a theoretical construct and a real world practice, cinematic experience is necessarily implicated in systems of social and cultural stratification, and thus subject to the drive for symbolic distinction amongst classes. As such, practical logics grounded in specific cultural arbitraries hinder illumination of the complexities of film going, perpetuating epistemological errors based in social ignorance and therefore denying a new understanding of cinematic experience in it

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7

Lupton, David. "Prolegomena to reflective film study a Bourdieusian analysis of the economy of cinematic exchange /." Australasian Digital Thesis Program, 2004. http://adt.lib.swin.edu.au/public/adt-VSWT20050708.092149.

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Thesis (PhD) - Faculty of Life and Social Sciences, Swinburne University of Technology, 2004.<br>Typescript. Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy, Faculty of Life and Social Science, Swinburne University of Technology, 2004. Bibliography: p. 275-284. Also available on cd-rom.

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8

Phiri, Diana. "An investigation into the popularity of Nigerian movies in Zambia: a reception study of Lusaka viewers." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007615.

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Motivated by a concern as to why Zambians are attracted to foreign media in the form of Nigerian movies, this thesis is a qualitative audience study which investigates the popularity of Nigerian movies in Zambia with a focus on Lusaka viewers. Against the dominance of Western media and most especially Hollywood movies, this study explores the popularity of Nigerian movies in Zambia which highlights the circulation of media within and between non-Western countries. This is an aspect of trans-national cultural flows that has been ignored in theories of media imperialism. The thesis argues that t

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9

Rutherford, Anne. "'What makes a film tick?' : cinematic affect, materiality and mimetic innervation." Thesis, View thesis, 2006. http://handle.uws.edu.au:8081/1959.7/20720.

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This PhD explores questions of cinematic affect and its relationship to mimetic experience. Through an examination of cinematic materiality, it argues that film must be inscribed across the sensorium if it is to arouse affective experience for the spectator. Drawing on Miriam Hansen’s readings of Walter Benjamin and Siegfried Kracauer, the thesis argues that cinematic affect can most productively be understood in film as a process of mimetic innervation. The thesis is comprised of seven published essays and an overarching chapter. The introductory chapter, ‘A Paradigm Shift in Film Studies’, s

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10

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how t

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11

Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.

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12

Bardsley, Karen. "Out of sight : resemblance, illusion and cinematic perception." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84465.

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In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relatio

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13

Vermaak, Janelle Leigh, and Subeshini Moodley. "Fans of film franchises - the online alien universe: a study of online participation as a catalyst for fan-created objects that expand the film universe." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13938.

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This thesis will analyse the ways in which fan participation and creation in online communities extends the film world beyond the film object, and the extent to which fandom influences identity within the fan group. The study will seek to determine the ways in which fans become part of the franchise through online engagement, as well as the manner in which they appropriate the franchise identity through their creations. The central hypothesis of the study is that online participation and creation amplifies fan connection with the film franchise, and increases the sense of identification with t

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14

Choi, Wing-yee Kimburley, and 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.

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15

Margolis, Harriet Elaine. "The cinema ideal an introduction to psychoanalytic studies of the film spectator /." New York : Garland Pub, 1988. http://books.google.com/books?id=HYJZAAAAMAAJ.

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16

Rutherford, Anne. "What makes a film tick? cinematic affect, materiality and mimetic innervation /." View thesis, 2006. http://handle.uws.edu.au:8081/1959.7/20720.

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Thesis (Ph.D.) -- University of Western Sydney, 2006.<br>A thesis presented to the University of Western Sydney, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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17

Rassos, Effie School of Media Film &amp Theatre UNSW. "Everyday narratives - reconsidering filmic temporality and spectatorial affect through the quotidian." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/25717.

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This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I e

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18

Antonsen, Torben. "Sublime pixels : exploring the audience experience in digital special effects cinema : [a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Film] /." ResearchArchive@Victoria, 2009. http://hdl.handle.net/10063/1075.

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19

Labosier, James Bruce. "Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4952.

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For about the first fifteen years after its commercial introduction motion picture entertainment throughout the United States was supported almost entirely by the mass of urban industrial workers, immigrants and their families. Beginning a few years before 1910 motion pictures began acquiring regular support from a limited element of the more affluent citizens until by the end of 1916 they constituted motion pictures' primary audience. This paper examines the audience development and conversion as it occurred in the downtown theaters of Portland, Oregon. Motion pictures were shown to two diver

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20

Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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21

Quinn, Paul. "B films as a record of British working-class preoccupations in the 1950's : the historical importance of a genre that has disappeared /." Lewiston : The Edwin Mellen Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780773447882.

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22

Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans

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23

Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.

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24

Lin, Shu-Fang. "Media enjoyment as a function of individual responses and emotional contagion." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123862440.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 126 p.; also includes graphics. Includes bibliographical references (p. 119-126). Available online via OhioLINK's ETD Center

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25

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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26

Tsakiri, Maria. "What are you looking at? : representations of disability in documentary films." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24517.

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This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a t

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27

McKenna, Susan E. "Seeing Lesbian Queerly: Visibility, Community, and Audience in 1980s Northampton, Massachusetts." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/102/.

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28

Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.

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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cine

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29

Bielecki, Paul M. "Rethinking Baudry's apparatus theory in light of DVD technology." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180533851.

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30

Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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31

Luce, Micah. "The cinema and the church experiential [koinonia] in audience and congregation /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

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32

Asare, Kofi. "Pentecostal-Charismatic Christianity in video films : audience reception and appropriation in Ghana and the UK." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8903.

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Religion has become one of the central themes in the Ghanaian/Nigerian video film industry. The portrayal of religious elements which mirrors the religious dynamics of the audience has been attributed partly to the success and popularity of the films. The video films have also excited religious passions as well as criticisms. The heart of the debate, as the existing studies indicate, is how the various religious traditions (often, Christianity and Indigenous religions) are represented in the video films. Whereas some scholars opine that Christianity, especially Pentecostal-Charismatic Churches

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33

MacCormack, Patricia (Patricia Anne) 1973. "Pleasure, perversion and death : three lines of flight for the viewing body." Monash University, Centre for Women's Studies and Gender Research, 2000. http://arrow.monash.edu.au/hdl/1959.1/7835.

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34

Balan, Canan. "Changing pleasures of spectatorship : early and silent cinema in Istanbul." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1985.

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This project explores a curious facet of early cinema that has not been studied as yet: the relationship between Turkish modernity and the culture of spectatorship within the context of the late nineteenth century’s viewing habits along with the era of early and silent cinema in Istanbul. The aim of this project is to examine the evolution of viewing habits in Istanbul at a particular period in which a radical cultural transformation was experienced, namely from the 1890s to the 1930s, when the late Ottoman era with its pre-cinematic shows, the cinematograph, and silent films led to the early

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35

de, la Pava Velez Benjamin. "Celluloid love : audiences and representations of romantic love in late capitalism." Thesis, London School of Economics and Political Science (University of London), 2017. http://etheses.lse.ac.uk/3602/.

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My doctoral research analyses contemporary North American romantic films and the meanings brought to and made from them by socially and economically diverse audiences in London. It does so in the context of a historicised and ideologically alert account of connections between biological, psychoanalytic, anthropological and sociological theorisations of romantic love and its screen depictions. In particular, my audience-led textual analysis of discourses of Euro-American romantic love is driven by an engagement with three claims: First, that neoliberal or late-capitalist individualism has engen

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36

Cohen, Rachel. "Cinematic constructions of the female serial killer : a psychosocial audience study." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/46698/.

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This project explores the ways in which film viewers engage with and respond to cinematic constructions of the female serial killer, focusing closely upon the story of Aileen Wuornos, who was executed in 2002 for the murders of seven men. Three key film texts - Monster (Patty Jenkins, 2003), Aileen: The Selling of A Serial Killer (Nick Broomfield, 1992) and Aileen: Life and Death of a Serial Killer (Nick Broomfield, 2003) - are used as the basis for this study. Arguing that the psychodynamic complexities of the spectatorial encounter are inadequately theorised by many existing Screen theory an

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37

Zhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.

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38

Hubbard, Frances Rosina. "Screendance : corporeal ties between dance, film, and audience." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48856/.

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I explore the sensuous, kinaesthetic experience and analysis of screen dance and the interconnectivity between our bodies, film, and heightened embodied sensibility. This physicality creates a dialogue between the rich diversity of screen dance genres under consideration, thereby avoiding hierarchical classifications. It also focuses attention on more abstract cinematic qualities, investigating how cinematic technique (as well as thematic content) generates emotional impact; allowing for the enjoyment of film as a material and sensual medium. However, since our senses have been trained accordi

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39

Kiss, Robert James. "The Doppelgänger in Wilhelmine cinema (1895-1914) : modernity, audiences and identity in turn-of-the-century Germany." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4124/.

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The Doppelganger is a celebrated motif of German silent cinema that has been seen by art and literary historians as a filmic descendant of German Romanticism, and by psychoanalysts as a concretisation of human beings' fears regarding their own potentially fragmentary nature and mortality. This research builds on such interpretations by suggesting that - in the case of German cinema before World War One, at least - the Doppelganger can be read as a signifier of modernity as it was experienced by members of various social groupings. Returning to primary sources, some 203 films are identified tha

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40

Govaert, Charlotte. "Cueing the viewer : how reflective elements in documentary film engage audiences in issues of representation." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=166024.

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Documentary theorists such as Brian Winston and Bill Nichols have theorised the merits of reflexivity to issues of representation in documentary film. They advanced the reflexive mode as a conscious effort to heighten the viewer’s awareness of the problematic relationship between the documentary image and that which it represents. Yet, how viewers read reflexive elements, and whether they raise the viewer’s consciousness with respect to the problem of authenticity in documentary film, has remained under-researched. In general terms, reflexivity is the procedure by which a particular piece of c

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41

Bisson, Susan. "Studying 'psychosis' in medical knowledge, popular film, and audience identities : a discourse analysis of the naming of clinical psychosis, its filmic representations, and the interpretations of those who have experienced it." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/73098/.

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This thesis explores the ways in which those who have experienced psychosis engage with and respond to film texts which feature psychosis; it draws upon screen theory and cultural theory to combine analysis of film content with reception analysis. Adopting a Foucauldian critical discourse analysis approach, (Jäger and Maier 2009) I employ textual analysis to examine the construction of psychosis in three key areas. Firstly, the naming of clinical psychosis is explored through an examination of policy documents. Secondly, a broad range of texts from the inception of film to the present day are

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42

Sandler, Kevin Scott. "How Hollywood got its groove back : reimagining the mass audience through the Motion Picture Association of America's rating system." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/20322/.

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This dissertation explores how Hollywood, in the years following the creation of the Classification and Ratings Administration (CARA) in 1968, reimagined the "mass audience" in an age of audience fragmentation. Building on Richard Maltby's suggestion that the rating system did not cause "the majors to alter their fundamental assumptions about the nature of film as a commercial commodity," I will show how the industry successfully continued to portray itself as a producer of universal entertainment for an undifferentiated audience. Guaranteeing that all CARA certified films would be rendered "r

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43

Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.

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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increase

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44

Jacobs, Jillian Kathleen. "It’s a Fanboy’s World: How Cinephile Blogs Perpetuate a Sexist Hollywood." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1285035004.

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45

Guo, Kuo. "For Profit or for What?A Comparative Case Study on Film Programming Strategies in Nonprofit and For-profit Movie Theaters." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1534506758595266.

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46

Knoell, Tiffany L. "Animating America: Warner Bros. Animation During the Depression." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1331398666.

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47

Choo, Christina. "Trend of thought : inspirations for a form of non-linear direction." Thesis, Queensland University of Technology, 2005.

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This is an exegesis, investigating the concept of trend of thought, as a motivation influencing the structure of non-linear storytelling in film. It journeys through the production of a 32min short drama entitled, Queue, following its evolution from the early stages of the script to the completed film. Through a self-analysis of my role as a writer, director and editor, I identified the priorities and emphasis placed on the various aspects of the story and film production at each stage. The thesis shows the growth the film has taken simply by allowing itself to follow the trends of though

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48

Rutherford, Anne, University of Western Sydney, College of Arts, and School of Communication Arts. "'What makes a film tick?' : Cinematic affect, materiality and mimetic innervation." 2006. http://handle.uws.edu.au:8081/1959.7/20720.

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This PhD explores questions of cinematic affect and its relationship to mimetic experience. Through an examination of cinematic materiality, it argues that film must be inscribed across the sensorium if it is to arouse affective experience for the spectator. Drawing on Miriam Hansen’s readings of Walter Benjamin and Siegfried Kracauer, the thesis argues that cinematic affect can most productively be understood in film as a process of mimetic innervation. The thesis is comprised of seven published essays and an overarching chapter. The introductory chapter, ‘A Paradigm Shift in Film Studies’, s

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49

Moore, Paul Samuel. "A rendezvous for particular people : showmanship, regulation, and promotion of early film-going in Toronto /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99213.

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Thesis (Ph.D.)--York University, 2004. Graduate Programme in Sociology.<br>Typescript. Includes bibliographical references (leaves 459-482). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99213

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50

Ionita, Casiana Elena. "The Educated Spectator: Cinema and Pedagogy in France, 1909-1930." Thesis, 2013. https://doi.org/10.7916/D8HQ3ZXR.

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This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic -- republicans, Catholics, Communists, and the first film avant-garde known as the Impressionists --

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