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Dissertations / Theses on the topic 'Motion picture production code'
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Stankiewicz, Kathleen Lynn. "UNCENSORED: GENDER ROLES AND THE DISMANTLING OF THE MOTION PICTURE PRODUCTION CODE." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1344343939.
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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.
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Engelbrecht, Nadine. "University of Pretoria : school of motion picture production." Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-11212008-103253.
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Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.
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Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.
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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.
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Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.
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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.
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Davis, Blair. "The 1950s B-movie : the economics of cultural production." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.
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The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.
This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.
The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.
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Nonnemaker, Donald. "The advantages and disadvantages of the transition from 35MM film to high definition video production form commercial and corporate applications." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2006.Source: Masters Abstracts International, Volume: 45-06, page: 3251. Typescript. Abstract precedes thesis as 1 leaf. Includes bibliographical references (leaves 69-71).
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Jones, Carol Byrne. "Anatomy of a co-production : an examination of how Tan ar y Comin became a Christmas re-union." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683064.
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Dean, Adam T. "The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.
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This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.
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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.
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Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
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Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
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Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.
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Hudgins, Donald A. "Rhythm and Views: A Compilation of Eight Projects Including Scoring, Video Production and Motion Graphic Design." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1206070566.
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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.
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Watkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.
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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.
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Nixon, Elizabeth A. "Money, film and narrative : a study of the role of money in the production of filmed narrative." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/84.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Cochella-Garcia, Giacomo. "Mar de recuerdos." Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/5108.
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Hutcheson, Linda. "Beyond the frame : a critical production case study of the advance party initiative." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/17851.
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This study utilises a variety of research methods in order to investigate aspects often overlooked within Scottish film criticism, and indeed film studies more generally, namely: pre-production, production experiences, marketing and distribution, and reception. To date, Scottish film criticism has exhibited a preoccupation with questions of nation, national identity and national cinema, and overwhelmingly scholars have privileged almost exclusive analysis of the film text. Spurred by Jonathan Murray’s (2007, 2011, 2012) questioning of the continued relevance of the national framework, this thesis goes beyond the frame of the film text in order to consider new ways in which a national framework might be of relevance when analysing Scotland’s cinematic output. Concurrently, the chosen case study is also used as a means of critiquing existing literature on collective identity and national cinema. As the title of this thesis suggests, analysis centres on the Dogma-inspired Advance Party initiative and its resulting films, Red Road (Arnold, 2006) and Donkeys (McKinnon, 2010). Devised by Glasgow-based Sigma Films and Denmark’s Zentropa, the cross border collaborative dimension of the Advance Party framework initially appears to challenge the appropriateness of the national framework. As this thesis demonstrates however, such a simplistic conclusion is reductive and overlooks the complexities of the film industry. Throughout this thesis, questions as to the intended and eventual function of the Advance Party framework arise, and these are revisited by means of the thesis Conclusion.
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Greer, Daniel. "Snakes Alive!" Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9101/.
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On three days in March each year, the sleepy little town of Sweetwater, Texas transforms into the rattlesnake capital of the world. Snake hunters and curious tourists converge on the town of 12,000 for the Annual Sweetwater Rattlesnake Roundup. On the outside of the Nolan County Coliseum, the smell of funnel cakes and hot-dogs fills the air as vendors sell snacks and souvenirs. However the real action is inside where snakes collected from all over the state lay in piles by the thousands, waiting to be sexed, milked and ultimately killed. Through interviews and observational footage, "Snakes Alive!" explores the Sweetwater Rattlesnake Roundup, those that participate in the event, and the elements that make it an unabashed West Texas tradition.
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Torres, Samuel Eliot. "The past and pending using cinema as a dialogue to break down walls in communication." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5061.
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The Past and Pending is a feature-length documentary by Samuel Eliot Torres, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The film focuses on a family torn apart by a major decision to migrate to the U.S. from Puerto Rico. The protagonist, Torres, is now trying to receive closure from the events by asking the questions he could not ask as a child, but feels compelled to ask as an adult. Filming with only one person in the crew allowed for an intimacy and spontaneity that is prized by entrepreneurial digital cinema makers. Without the financial and scheduling constraints of enlisting a large crew, the film was allowed to thrive with a spontaneous and ongoing shooting schedule, controlled entirely by one person.ID: 029810413; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 17]).
M.F.A.
Masters
Film
Arts and Humanities
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Lehman, Jeffrey. "The Cinematic Experience Through The Micro-Budget Paradigm." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5805.
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The Tailor's Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.
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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Bowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.
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Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities
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Green, Bryony Rose Humphries. "A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.
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Grant, Michael E. (Michael Edward). "China Run." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.
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China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.
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Peeler, Scott Edward. "The dynamics of proximity : Hitchcock's cinema of claustrophobia." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2151.
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The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.
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Barbuto, Adriano Soriano. "As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro." Universidade Federal de São Carlos, 2010. https://repositorio.ufscar.br/handle/ufscar/5588.
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Previous issue date: 2010-08-02The motion picture cameras have changed through the years. However, they have kept their main design which has not changed during this period. One of the goals of this text is to understand how that design was created, and also the changes it has suffered without losing its essence. Besides that, this text aims to understand how different cameras connected with the Brazilian cinema production in the fifties and sixties. A change on camera s use is noticeable in that period in Brazil. There is a change in appreciation from the more traditional cameras linked to the studio system to the European cameras developed in the thirties and forties, which were lighter and more portable. This issue coincides with a specific characteristic in Brazilian cinema at that time, when people started to believe in the independent cinema production as an answer to the studio system, which was the main thought until then. In order to show this entire context, it has been chosen the Vera Cruz and Cinema Novo, their movies and shootings, to confront and connect them to camera models and their relation to the mode of production
As câmeras cinematográficas passaram por mudanças ao longo dos anos. Porém, manteve um design que se perpetuou durante este período. Um dos objetivos do presente trabalho é entender como este design foi criado, e as variações pelas quais ele passou, sem perder a sua essência. Em paralelo a isso, entender como estas diferentes câmeras travaram relação com a produção do cinema brasileiro dos anos 1950 e 1960. É nesta época que se observa no país uma troca de postura em relação às câmeras. Passa-se de uma valorização das câmeras mais tradicionais, ligadas ao sistema de estúdio, à valorização das câmeras européias criadas no anos 1930 e 1940, que eram mais leves e portáteis. Isso coincide com um momento específico do cinema brasileiro, aquele em que se passa a crer numa solução de cinema independente como resposta ao cinema de estúdio, que era o pensamento majoritário até então. Para ilustrar todo este contexto, escolhemos a Vera Cruz e o Cinema Novo, seus filmes e filmagens, para relacioná-los e confrontá-los em relação aos tipos de câmeras e sua relação ao modo de produção.
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Viñolo, Locubiche José Samuel. "El modelo de producción industrial de animación 3D estadounidense." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405853.
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La irrupción de la animación 3D a mediados de la década de 1990 supuso una de las transformaciones tecnológicas mas rápidas y profundas del audiovisual contemporáneo, con repercusiones que afectaron de manera muy especial los procesos industriales, económicos y artísticos de la animación en los Estados Unidos de América. La presente tesis doctoral se centra en la producción de largometrajes y series estadounidenses realizados con esta técnica de animación entre 1995 y 2015. La investigación intenta determinar hasta qué punto las características económicas, productivas y formales que definen la animación 3D en la industria audiovisual estadounidense permiten considerarlo un modelo de producción institucionalizado y consensuado de normas, valores y prácticas cinematográficas. Para esta tarea, la investigación combina el análisis de las fuentes documentales, los materiales históricos y la recopilación de la bibliografía crítica con diversos enfoques que parten de los ámbitos empresarial, profesional, tecnológico, estético e industrial. La tesis doctoral establece también un marco de referencia en el que se compendian enfoques multidisciplinares y se analiza la riqueza de opciones y posibilidades con las que cuenta el modelo de la animación 3D, al tiempo que se facilitan una serie de herramientas metodológicas que permiten definirlo frente a otros modelos de producción de animación.The emergence of Computer Graphics (CG) animation in the mid-1990s is widely regarded as one of the biggest upheavals in contemporary audiovisual media. This economic, industrial and artistic disruption impacted with particular intensity on the US animation industry’s production processes. This dissertation focuses on CG animation production for feature film and TV series created by American studios between 1995 and 2015. This study examines the extent to which the economic, productive and stylistic characteristics of the American CG animation industry can be considered an institutionalized and recognized production model comprising its own unique set of customs, values and filmmaking practices. To this end, the research utilizes documentary sources, historical materials and a review of critical literature. It uses a range of perspectives drawn from managerial, professional, technological, aesthetic and industrial fields and a framework of multidisciplinary approaches that analyzes the variety of options and modes of the CG animation model. Finally, the study proposes the use of some methodological tools that could serve to define the American CG animation model against other systems of animation production.
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Baey, Sébastien. "Contribution à la qualité de service d'une pile radio flexible pour la transmission de données multimédia en mode paquet sur interface radio UMTS WCDMA." Paris 11, 2004. http://www.theses.fr/2004PA112111.
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Cette thèse traite de l'intégration du trafic multimédia sur la voie montante de l'interface radio de l'UMTS. Le problème est abordé dans sa globalité, considérant à la fois les possibilités de partage de la ressource, une bonne caractérisation du trafic à transmettre et les possibilités ouvertes dans la norme UMTS. L'attention est plus particulièrement portée sur la vidéo MPEG4 et les données de type Internet. La première partie de la thèse dégage une approche du partage de ressource radio en mode WCDMA. Les performances du mécanisme de multiplexage de niveau couche physique avec qualité de transmission différenciée et l'impact du mécanisme d'adaptation de débit sont évalués. Cette analyse débouche sur la construction d'une fonction de coût pour l'estimation de la capacité cellulaire multiservice et la proposition d'une méthode d'équilibrage adaptatif de la qualité de transmission. La seconde partie de la thèse présente un nouveau modèle statistique pour le trafic vidéo MPEG4. Ce modèle consiste en une particularisation du processus DBMAP et permet d'évaluer analytiquement les performances de transmission à la traversée d'un système à file d'attente. La dernière partie de la thèse intègre l'ensemble de ces travaux pour aboutir à une stratégie d'ordonnancement coopérative multiplexant efficacement les paquets issus d'applications multimédia temps réel et non temps réel, dans le respect des contraintes d'intégrité et de retard. Une méthode analytique faisant appel à la théorie des files d'attente de type M/G/1 est fournie pour le calcul des retards subis par les paquets vidéo MPEG4 et les données lorsque cette stratégie est mise en œuvre au sein d'un réseau UMTSThis thesis deals with the integration of multimedia traffic on the uplink of the UMTS radio interface. The problem is tackled in its globality, considering jointly the resource sharing possibilities, a good characterization of the traffic to transmit and the possibilities opened in the UMTS standard. The attention is more particularly focused on MPEG4 video and data of the Internet type. The first part of the thesis provides an approach of radio resource sharing in WCDMA mode. The performances of the physical layer multiplexing mechanism with quality of transmission differentiation and the impact of the rate matching mechanism are evaluated. This analysis serves as a basis for the construction of a cost function for estimating the multiservice cellular capacity and the proposition of a quality of transmission adaptive balancing method. The second part of the thesis presents a new statistical model for MPEG4 video traffic. This model consists in a customization of the DBMAP process and allows evaluating the queueing performances analytically. The last part of the thesis integrates this set of works yielding a cooperative scheduling strategy that efficiently multiplexes the packets generated by real time and non real time multimedia applications while respecting the integrity and delay constraints. An analytical method based on M/G/1 type queueing systems theory is given for computing the delays incurred by MPEG4 video and data packets when this strategy is implemented in a UMTS network
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Engelbrecht, Nadine. "University of Pretoria : school of motion picture production." Diss., 2008. http://hdl.handle.net/2263/29660.
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The subject of the dissertation is a school for education in motion picture production which includes sufficient cinema spaces to accommodate entertainment for students and the general public. The building acts as a social anchor addressing access for and movement of pedestrians through the site, and allowing transparency of the educational process.Dissertation (MArch(Prof))--University of Pretoria, 2009.
Architecture
unrestricted
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"Crossing the transnational Hong Kong cinema co-production: production culture, policy, business, and individual practitioners." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075095.
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Taking co-production as a dominant development of Hong Kong's film industry, this study examines the transnationality of different trends of co-production: Hong Kong China co-production, Hong Kong - Asia co-production, and individuals working for overseas productions, and the production cultures in these varied contexts are analyzed. By crossing production culture, policy, film business and the work of individual practitioners with the concept and practices of transnationality, this study outlines the possibilities and limitations of developing transnational co-production in Hong Kong cinema. Focusing on its varied manifestations, this thesis emphasizes the plurality of transnationality and suggests that "transnationalities" are a result of the development of Hong Kong cinema. The influences and infiltration of Hong Kong cinema into the other cinemas of the world reflects its ways of survival, and the simple claiming of "the death of Hong Kong" should be questioned. Although there are many constraints in co-production, and some practitioners of valuable skills, like action choreography, are privileged to others, the thesis reveals that Hong Kong cinema is transforming in a direction that provides a foundation for sustainable development. The different co-production projects in which Hong Kong cinema is now engaging demonstrate how this cinema will be able to incorporate itself into the production process in China, Asia and the overseas contexts.Chan, Ka Ming.
Adviser: Lai-Kwan Pang.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 317-338).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
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"The evolution of Hong Kong as a regional movie production and export centre." Chinese University of Hong Kong, 1993. http://library.cuhk.edu.hk/record=b5887805.
Full textAbstract:
by Grace Leung Lai-kuen.Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.
Includes bibliographical references (leaves 120-124).
Preface --- p.ii
Abstract --- p.iii
Contents --- p.iv
Chapter Chapter 1. --- Introduction --- p.1
Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5
Chapter i) --- An Anomaly to Media Imperialism
Chapter ii) --- Inadequacies of Non-Marxists Theories
Chapter iii) --- Analytical Framework
Chapter iv) --- Research Questions and Research Design
Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19
Chapter i) --- Hong Kong as a Movie Production Centre
Chapter ii) --- Hong Kong as a Movie Export Centre
Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44
Chapter i) --- An Overview
Chapter ii) --- Stages of Development
Chapter 1) --- Initial Period
Chapter 2) --- Nascent Period
Chapter 3) --- Growing Period
Chapter 4) --- Developing Period
Chapter 5) --- Quiescent Period
Chapter 6) --- Reconstruction Period
Chapter 7) --- Prosperity Period
Chapter 8) --- Declining Period
Chapter 9) --- Revival Period
Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77
Chapter Chapter 6. --- Conclusion --- p.111
Appendices --- p.118
Reference --- p.120
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Tahor, Eran. "Cinematography and visual style: understanding the collaborative roles of the cinematographer in the development and production of South African fictional feature films." Thesis, 2016. http://hdl.handle.net/10539/21859.
Full textAbstract:
A dissertation submitted to the Faculty of Humanities in fulfilment of the degree of Master of Arts by creative research in Film and Television, University of the Witwatersrand, 2016In this dissertation I examine the roles of the cinematographer in fiction feature film production. I begin the discussion with a historical review of the emergence of cinematography as a specialised field in early cinema. This corresponds with developments in camera technology that enabled accurate framing, lighting and the possibility of movement. In order to provide a framework for further discussion, the first chapter proceeds with a review of formal definitions and less conventional definitions of the role of the cinematographer. The focus in these discussions is on the cinematographer’s engagement with the design, development and application of a unique ‘visual style’ in the articulation of the director’s vision for the film. A large component of this research pertains to the work of the cinematographer in South African feature film productions. The second chapter presents an analysis of two very different South African feature films Oil On Water (Matthews, 2007) and SMS Sugar Man (Kaganof, 2008). I was the cinematographer on both productions and the discussion engages a reflexive mode of analysis. The third and final chapter is an analysis of the accompanying film Impunity (Mistry, 2014), which forms the creative component of this research. I conclude with establishing that the creative engagement of the cinematographer in the design of a coherent visual style contributes to a nuanced and engaging cinematic experience and richer visual vocabulary.
MT2017
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Kolenda, Richard S. "Growing an Industrial Cluster?: Movie Production Incentives and State Film Industries." 2017. http://scholarworks.gsu.edu/pmap_diss/67.
Full textAbstract:
After witnessing the success of Canadian strategies to attract U.S. film production in the 1990s, states and localities began offering financial incentives in an effort to lure film and video production away from their traditional hubs in California and New York (Christopherson & Rightor, 2010). This effort increased dramatically in the 2000s, both in scope and in scale. Production activity can now locate in states offering rebates of up to 40 percent of costs, even if this exceeds their actual tax bills, and all but a handful of states offer some form of tax incentives (Christopherson & Rightor, 2010; Katz & Rosenthal, 2006; National Conference of State Legislatures, 2011; Vock, 2008). While some states may be reducing incentive packages in the current climate of fiscal austerity, others are doubling down on that strategy as an effort to stimulate job growth and increased economic activity. And while most states tout many successes from these programs in both metrics, the question of whether such policies promote long-term sustainable economic development has not been fully answered. First I use theoretical literature to construct a model of sustainable industrial development. I will then test this model using a variety of methods and data sets at the national, and state and county levels. In the following two analytical chapters, I will evaluate the impacts of incentives on state-level employment and firm growth, followed by an assessment of the economic effects of incentives in one such state: Georgia. By using this variety of approaches and units of analysis, I hope to shed light on both the macro- and micro-level impacts such incentives have on the industrial economic development of states. In the first study, I use data from the County Business Patterns (CBP) over the years 2002-2013 to view changes in economic activity by state by the level of incentives offered. Using panel data for industry employment, establishment and occupational employment, I use a fixed and random effects regression models to view the relationship between the presence of incentives and the levels of employment and firms in the film industry of each state. Next, I use Georgia as a case study with which to evaluate the degree to which financial incentives for the motion picture industry can create a sustainable network of local firms and workers. I test these theories by using confidential QCEW data to analyze establishment-level activity and relative locations. The results neither completely confirm nor disprove the hypothesis that attracting mobile productions with state tax incentives can establish a nascent industry and generate long-term employment in a region. However, there is some evidence that the number of years the MPIs are in effect does have a positive impact, especially on establishments and occupations. Additionally, the states’ climate and transportation access relative to Los Angeles and other locations are important factors in building a local industry.
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Huang, Xuelei [Verfasser]. "Commercializing ideologies : intellectuals and cultural production at the Mingxing (Star) Motion Picture Company 1922 - 1938 / vorgelegt von Huang, Xuelei." 2009. http://d-nb.info/1000576388/34.
Full text
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Bechan, Nirvana. "Women in production : the South African film and television production industry." Thesis, 1999. http://hdl.handle.net/10413/8731.
Full text
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Ernest-Samuel, Gloria Chimeziem. "The role and significance of Multichoice and its Africa Magic channels in the development of Nollywood." Thesis, 2017. https://hdl.handle.net/10539/24627.
Full textAbstract:
Thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirement for the degree of Doctor of Philosophy. Johannesburg, 2017This thesis explores the contribution and significance of Multichoice Nigeria and its Africa Magic channels in the development of the Nigerian film industry. The main objective of the study is an interrogation of the terms of Multichoice contracts with Nollywood content producers as well as a review of the effect of the programmes of Multichoice on content producers. The second key objective is to examine the development impacts of these initiatives on the Nigerian film industry. Semi-structured in-depth interviews were conducted with industry practitioners, representatives of the Multichoice and officials of government agencies in Nigeria in addition to analysis of policy documents. The thesis is influenced by critical political economy and the critical media industry studies approach developed by Haves, Lotz and Tinic (2009) whose study of creative and entertainment industries focuses on content producers and cultures of production in media corporations. The study examines Multichoice’s production initiatives as perceived by Nollywood content producers, and provides situated accounts of Nollywood filmmakers’ experiences, encounters, pressures and tensions which undermine Multichoice’s apparent social objectives. It modifies the production culture to the culture of business in the media industry and exposes the need for industry practitioners to engage intellectual property lawyers in their business dealings with Multichoice and other corporate agencies in order to forestall exploitation. While highlighting the complexities, contradictions and ambiguities in the Multichoice-Nollywood relationship, as well as the challenges confronting Nollywood, I argue that contrary to the reservations of the content producers, the industry has benefited from Multichoice in direct and indirect ways. These include improved quality of film production, the increased online presence of Nollywood films, enhancing the local tourism and hospitality industry and promoting professionalism. The study therefore recommends government intervention to address the existing mistrust between Multichoice and Nollywood. The study inspires the “early bird theory” to interpret the Multichoice-Nollywood relationship and experience; studying similar relationships between media corporations and the local film industries in Third World nations. This thesis makes original contribution to knowledge by providing resource material to the scarce literature in critical media industry studies with particular regard to the African film industry.
XL2018
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Alberts, Johan. "Adapting a Dogma 95 film set design for the stage production of Festen in South Africa." 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001315.
Full textAbstract:
M. Tech. Entertainment TechnologyAdapting popular motion pictures to theatre stage productions has been very popular in recent years. Some of the best examples are the motion picture productions The Lord of the Rings, Billy Elliot and The Colour Purple that were adapted to stage musical productions. This was the case with the original Danish film Festen or The Celebration that was adapted and staged as a theatre play with English text in London in 2004. Pertaining to Festen, the film was originally produced according to the Dogma 95 Principles - a set of principles that were specifically aimed at the film industry and totally differed from any known and applied film practices of the time. The main problem that scenic designers of later stage productions had to deal with when the film was adapted to a stage production was that these principles had a very specific influence on the stage designs for this specific production. For the staging of the play Festen by the Drama Department of Tshwane University in Pretoria the director and the designer not only decided to oppose the Dogma 95 Principles totally, they also decided to design a set in a Film Noir style. They further decided to stage the play with a Caucasian cast using the English text and a black cast using a Zulu text. This resulted in having a major influence on the final outcome of the production. The research question that has to be answered in this research project is "whether it is possible to adapt the design of a very specific type of film production that was originally governed by a set of specific principles for a stage production of the same play".
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Rousseau, Max. "Pembroke Circle: A Portrayal Of Social Themes Using Micro-budget Cinema." Master's thesis, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6170.
Full textAbstract:
Pembroke Circle is a feature-length, micro-budget, digital motion picture, written, produced and directed by Max Rousseau as a part of the University of Central Florida's Masters in Fine Arts program in Digital Entrepreneurial Cinema. The filmmaker engaged some very difficult material in the micro-budget paradigm and grew personally and professionally in the process. This thesis documents the writing process, pre-production, fund-raising, production and post-production; all leading to the completion of a festival-ready feature film. It is the hope that this thesis will create an understanding of what it takes to make a micro-budget film and offer some help to future filmmakers embarking on a similar path.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema Track