To see the other types of publications on this topic, follow the link: Motion pictures - political aspects.
Dissertations / Theses on the topic 'Motion pictures - political aspects'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Motion pictures - political aspects.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Chan, Shuen-yan, and 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.
Full text
2
Thomas, Patricia Brooks. "Propaganda on film : shadows from the past, projections for the future?" Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678661.
Full text
3
Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
4
Chan, Kim-mui Eileen, and 陳劍梅. "Postmodernity and recent Hong Kong cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.
Full text
5
Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.
Full textAbstract:
This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.
6
Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.
Full textAbstract:
African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
7
Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.
Full text
8
Giordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.
Full textAbstract:
Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.
9
Cicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.
Full textAbstract:
This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.
10
Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
Full textAbstract:
As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
11
Maltère, Hugues. "The socio-political dimension of film noir." Thesis, Virginia Tech, 1992. http://hdl.handle.net/10919/44231.
Full textAbstract:
After World War II, Hollywood produced a series of low budget pictures characterized by a dark mood, bleak urban landscapes and fierce violence. French critics called them films noirs (black films). These movies presented a critical vision of the social injustice present in the American capitalist society. This thesis examines the socio-political dimension of film noir firstly through its social, literary and filmic origins, then through a piecework study of shots and dialogues from six noir pictures: Body and Soul (1947), Force of Evil (1948), Knock On Any Door (1949), Kiss of Death (1947), I Walk Alone(1948) and The Set-up (1949). It is shown how the Marxist convictions of their makers influenced their style and their content. Even films noirs made by apolitical or moderate filmmakers follow a similar pattern. It is concluded that film noir contains expressions of anti-capitalist struggle toward social justice and moral redemption. The appeal of these ideas to many Americans is shown by the box-office success of these pictures, while many noir writers, actors and directors were the victims of the reactionary repression of the early fifties.
Master of Arts
12
陳家樂. "光影中的政治 : 香港電影的政治表述 = Politics on the silver screen : political representation in Hong Kong films." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/625.
Full text
13
Street, Sarah. "Financial and political aspects of state intervention in the British film industry, 1925-1939." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:aeedf404-aa82-4a7e-a1b7-feb626ffff81.
Full textAbstract:
During this period the state's interest in the film industry took several different forms. The area of films policy explored in this thesis is the economic protection of the commercial film industry against the high percentage of American films screened in Britain and the Empire. I begin in 1925 because it was not until then that active steps were taken by the government, in response to agitation from producers and those who saw film as a bond of Empire and advertisement for British goods and 'way of life', leading to the Cinematograph Films Act, 1927. This proposed, for political, cultural, moral and economic reasons, that renters and exhibitors should acquire and show a percentage of British films. There was no subsidy for producers or a heavy duty levied on American film imports. The origins, impact and character of official film policy are explored in the thesis with particular attention to financial and political aspects. An attempt is made to explain why policy was limited to film quotas together with an assessment of their impact on the industry's economic development. Details are also given on how the film industry's affairs became caught up in wider debates on tariff policy in the 1920s and in Anglo-American relations ten years later. The first three chapters deal with the evolution, promulgation and initial impact of the Cinematograph Films Act, 1927. Chapter 4 examines the deliberations of the Moyne Committee, established in 1936 to review the film industry's progress. The last three chapters analyse the three major influences on policy during the making of the 1938 Films Act: the campaigns of British film trade interests; the state of Anglo-American relations and film finance. In the final assessment the major influences that shaped policy are outlined together with conclusions on the industry's position and problems on the eve of the Second World War.
14
Hall, Martin. "Theories of the subject : British cinema and 1968." Thesis, University of Stirling, 2018. http://hdl.handle.net/1893/28597.
Full textAbstract:
Aiming to make an intervention in critical theory, film-philosophy and British Cinema scholarship, this thesis investigates what a marriage of Lacanian and Badiouian theories of the subject can bring to the study of the radical British feature film of 1968: films which in differing ways represent the political and intellectual debates current in the culture. The question of what can be learnt through an analysis situated within theories of the subject has not been addressed within British Cinema studies. Psychoanalytic film theory in its previous incarnations utilised a section of Lacan's thought in order to focus on the ways in which the spectator was placed into a subject position by the unseen workings of the apparatus. Furthermore, the limited amount of Badiouian film scholarship is concerned with whether films can be thought philosophically. A fuller use of Lacan with Badiou as a hermeneutic model to address films from a specific period and context creates a new interpretive model on the porous boundary between critical theory and film-philosophy. This thesis utilises Lacan's categories of the Imaginary, Symbolic and, predominantly, the Real alongside the Badiouian Event to interrogate the ways in which Morgan: A Suitable Case for Treatment (Karel Reisz, 1966), Privilege (Peter Watkins, 1967), Herostratus (Don Levy, 1967), Performance (Donald Cammell & Nicolas Roeg, 1970) and if ... (Lindsay Anderson, 1968) represent the radical subject of 1968, in order to argue for the efficacy of ideological critique, to think politically about cinema, and advocate the continuing resonance of the period in contemporary praxis.
15
Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.
Full text
16
Martins, de Souza Luiz Carlos 1968. "Cartas para quem? = o funcionamento discursivo da "falta" no filme Central do Brasil." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268941.
Full textAbstract:
Orientador: Suzy Maria LagazziTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-20T05:11:48Z (GMT). No. of bitstreams: 1 MartinsdeSouza_LuizCarlos_D.pdf: 3983729 bytes, checksum: 646abf82afc9908b41ae8e482668e965 (MD5) Previous issue date: 2012
Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem
Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text
Doutorado
Linguistica
Doutor em Linguística
17
Budziszewski, Przemyslaw. "Our enemy, ourselves: Political conspiracy in American cinema, 1970-present." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4269/.
Full textAbstract:
This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three decades, it analyzes the relationship between the conspiracy theory genre, the "crisis of confidence" in the American society, and the process of formation of American national identity.
18
Hanlon, Dennis Joseph Newman Kathleen E. "Moving cinema Bolivia's Ukamau and European political film, 1966-1989 /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/374.
Full text
19
Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.
Full text
20
Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.
Full textAbstract:
This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.
21
Rassos, Effie School of Media Film & 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.
Full textAbstract:
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 explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.
22
Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
Full textAbstract:
Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
23
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.
Full text
24
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.
Full textAbstract:
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 relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.
25
Peng, Kan. "A political economy of online film exhibition in China." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/23.
Full textAbstract:
As one of the most revolutionary technologies in human history, the Internet has dramatically transformed the media industry, including the film exhibition industry. In China, new online exhibition networks have continuously been established to exploit the lucrative markets of Internet users' online viewing and sharing habits. The destinies of different types of films in the Chinese market have been greatly changed due to the increasing connections and contradictions between China's Internet and film exhibition industry which are influenced by many political economy factors, such as the conflicting interests among different government departments. Therefore, this paper examines the Internet's impact on film exhibition in China from a political economy perspective. The thesis first traces the history of two online exhibition networks related to China's film market. One is the online video websites that accumulated their early capital by piracy content, but which were then progressively legalized under the forces of venture capital and government administration. The other is the online piracy network, which has become a problem for film industries worldwide , due to its transnational, decentralized and limitless network. However, this network also functions as a democratic tool to combat with the ideological controls of the government. This thesis argues that these two online exhibition networks are fated to conflict with each other since they operate under two conflicting logics. The former operates in the logic of capital gains, while the latter celebrates the logic of ommunal sharing and exchange. Based on the analysis of the dynamic between these two online exhibition networks, this thesis further investigates how, in the context of China's particular political economy, three different types of film are influenced by the two networks. The first is Chinese commercial films, which are making more and more profits from online video websites, while facing the challenge of online piracy. The second are foreigll'films, which are expanding their influence and bypassing the entry barriers into the Chinese market through the online video websites and piracy networks. The third are so-called Chinese independent films. As these films cannot be distributed through state-controlled channels, Chinese independent film 's domestic circulation was once quite confined. For independent films, the Internet has become an important exhibition channel that extends their influence to a wider domestic audience and even a bargaining chip with which to negotiate with the state's rigorous censorship system
26
Mercer, Nicholas R. "Thinking the commodity through the moving image : a philosophical investigation into cinematic consciousness and the commodity as a mode of communication." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0261.
Full textAbstract:
This thesis explores the historical, theoretical and philosophical development of cinematic media as a collective form of technological perception and consciousness. Central to my inquiry is the philosophical notion that with the invention of cinema emerges a cyborg vision, a new modern mechanics of thinking that extends the phenomenological and epistemological experience of human perception and knowledge into hitherto unknown realms of thinking, sensation and being. Drawing on some of the key cultural thinkers and philosophers of the twentieth century, including Walter Benjamin and Gilles Deleuze, as well as contemporary philosophers of media such as Jonathan Beller, Sean Cubitt, D.N. Rodowick and Mark B. Hansen, my research into the philosophy of cinema and digital media articulates a branch of media theory that reads the political economy of the moving image through an amalgam of continental philosophy, marxist theory and film studies. Coterminous with the investigation into the philosophical object of cinematic or media consciousness, the thesis also endeavors to map the historical genealogy of the moving image as it evolves from the industrial mechanics of cinematic technologies to the virtual informatics of digital culture. Central to this inquiry is the idea that the history of cinematic and visual media is inextricably connected with the rise, towards the end of the twentieth century, of postmodern consumer culture and the global information society. The transition from a modern industrial economy to a postmodern information economy that reorganises the logic of production according to the 'variables' of scientific knowledge, communication and informational technologies, parallels a metamorphosis in our media consciousness as the representational ontology of cinematic moving image is transformed by the virtual ontology of the digital image. The first part of my thesis looks at the period of industrial cinema, focusing on Soviet constructivism and the films of Dziga Vertov and Sergei Eisenstein. In this section I trace the origins of cinema as a mode of communication for the commodity, examining how the modern cinematic imaginary opens up new economies of vision and sensation for capital. Following this investigation into what Jonathan Beller calls the cinematic mode of production, the second part of my thesis proceeds to investigate how cinematic consciousness is transformed from the industrial to the post-industrial era. Taking Deleuze's historiographical demarcation of cinema into the two regimes of the 'movement-image' and the 'time-image' as a philosophical frame, the second section of my thesis investigates how in the post-war films of the Italian neorealists and Michelengelo Antonioni our cinematic consciousness develops a new way of thinking the ontology of time and space. This analysis leads into my discussion of how in the age of digital special effects and the Hollywood blockbuster, cinematic consciousness is further expanded with the time-consciousness of the 'virtual' as our bodies attempt to accommodate the heightened flows of information that bombard our senses in the interfaces of digital culture.
27
Deacy, Christopher. "Screen Christologies : an evaluation of the Christian concept of redemption and its application through film." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683160.
Full text
28
Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.
Full textAbstract:
This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.
29
Jung, Berenike Christiane. "The (in)visibilities of torture : political torture and visual evidence in U.S. and Chilean fiction cinema (2004-2014)." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81387/.
Full textAbstract:
This thesis explores how selected contemporary U.S. and Chilean films and television shows depict political torture, in relation to visual documentation of factual cases. The films explore the uneasy complicity in seeing or watching torture, which concerns both the spectacle of cinema, the nature of torture as well as the position of the audience or witness. Casting a wider net on the definition of torture, I suggest that these media products can help broaden our comprehension of the event torture, in its collective and emotional dimension, its long-term social effects as well as its links to other cultural concepts. Moving beyond dominant and limiting frameworks based on representation and identification, this thesis integrates affect, film and media theory with textual analysis. Some of these films and television shows offer a public and emotional space to explore subject positions crucial to acknowledge a sense of social pain, often missing in official accounts. These films’ heterogeneous aesthetic responses speak to a similar set of epistemological and ontological queries, which are fundamentally related to the truth claims of images. In its inherent need for an ethical stand and trust in documented truth, torture offers a research axis to discuss current anxieties regarding the reliability of visual evidence, coinciding with a historical moment that interrogates (moving) images’ powers and reliability to document the real. Ethical questions regarding documentation are reconfigured in epistemological terms. If vision is problematic as means of verification, how do the films pursue authenticity, and what kind of truth do they offer? Responding to current interventions regarding the nature of the cinematic medium, the films propose a new poetics of the real that does not rely primarily on visual evidence. I argue that in a situation of contested, censored or plainly missing documentation, these films produce a “cine-poetic archive,” images that highlight both their constructedness and their roots in the historical real. In this way, the films help understand something fundamental about how we relate to our current reality through our images.
30
Law, Yuk-wa, and 羅玉華. "On time and festivity: a study of Chinese newyear films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.
Full text
31
Maltère, Hugues. "The socio-political dimension of film noir /." This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08142009-040450/.
Full text
32
Fourie, Elizabeth. "The representation of materialist consumerism in film." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/954.
Full textAbstract:
People are constantly bombarded with the latest technology, the latest fashion, the latest ‘must have’ item. We are encouraged to buy things that promise to change our lives and give us satisfaction or even create happiness. Interestingly we often succumb to the temptation of these material things, which is not always a negative reaction; however it does become negative when our lives are controlled by material possessions and we give up certain aspects of who we are to enable us to obtain these possessions. Further more it becomes problematic when we start to rely on material possessions to define us in terms of our identity or to help us fit into particular groups within society. With the media playing such a large role in societies at present it is almost inevitable that the phenomenon of materialist consumerism will make its way into the media. The media however holds control, to an extent, over whether or not materialist consumerism is viewed in a negative or affirmative light. An analysis of the representation of materialist consumerism in selected instances of mainstream cinema will be the aim of my proposed study. The study will look at the representation of materialist consumerism in so far as it offers viewers a place to ‘fit’ into a particular group within society. The group I am referring to can be categorised as the upper-middle class of contemporary western society. I have thus selected films that represent this group specifically. For the purpose of the treatise ‘materialist consumerism’ is understood as a way of life, or alternatively, an ideology, which assumes that the accumulation of material wealth through consumption imparts meaning to human lives. The treatise will analyse both sides of the coin, or in other words films that support or promote materialist consumerism and those that either revolt against or criticise this form of consumerism. The study will explore different aspects of consumerism in so far as these are represented in the films, with an identifiable axiological bias.
33
Goode, Ian. "Voices of inheritance : aspects of British film and television in the 1980s and 1990s." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/35838/.
Full textAbstract:
During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.
34
Walton, Jennifer Lee. "POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143492027.
Full text
35
Croy, William Glen, and n/a. "The role of film in destination decision-making." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080404.155622.
Full textAbstract:
The purpose of this research is to create a method and measure the influence of fictional film media in potential tourists� destination decision-making, using a quasi-experimental method. Film tourism researchers have implied that film plays a direct role in generating tourism. In this research, however, it is proposed that film plays an indirect role through the construction of meaning of place, and therefore destination awareness, availability and evaluation.
A two-part multiphase quasi-experimental method was created and implemented to identify change in a destination�s image due to watching a film. Part One. was qualitative in nature and implemented to discover destination image attributes (evaluative components and decision-making factors) used in destination selection (survey n=202, in-depth interviews n=10). Part One concluded with the compilation of a list of relevant, clear and efficient attributes for Part Two. The list maintained sufficient diversity to define destination image, and was composed of 21 decision-making factors and 40 evaluative components. Part Two then measured the destination�s image, and change in that image due to watching a feature film (pre and post survey n=67). Change in this quasi-experimental method was assessed by the importance of the attributes being measured, the influence of the film on these attributes and most importantly the combined effect of the film on these attributes.
The Vertical Ray of the Sun, a film set in Vietnam, was used to apply and test this innovative quasi-experimental method. The application assessed not only the effect of the film on Vietnam�s image, but also the applicability of the method. The film positively influenced the respondents� image of Vietnam. The film had a measured effect on more than half of the attributes. That noted, the actual number of attributes affected to the marked level were 17 out of 61 for the difference in means and only 11 for the eta� value. Consequently, whilst the film positively affected the image of Vietnam, most of the attributes still needed significant change to modify tourism demand.
The thesis importantly contributed to the study of destination image methodologically by asserting the need to assess the importance, influence and effect. This new method can and should be implemented to assess and monitor the effects of many events. This research also contributed by introducing a quasi-experimental cumulative importance-influence measure of effect. The contribution was highlighted in that those attributes with a large influence did not always have a large effect on the destination�s image. Neither performance by itself, nor importance by itself, can be used as a final effect measure.
Finally, this research supports other film-induced tourism studies: film does influence destination image. As presented in more recent studies film-tourism is more likely to be an incidental experience than a reason to visit a place. These more recent studies too may underplay the role of film by focusing on film as an attraction or activity, rather than its role in the actual decision to visit. This research has contributed to film tourism research by highlighting that film can still play a role in the decision-making process, even though it may not be an attraction or a desired experience in itself.
36
Mecklai, Noorel-nissa S. "Abrogated identity : Muslim representation in Hindi popular cinema 1947-2000." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/352.
Full textAbstract:
This thesis asks the question: How do the representations of Muslims in Hindi Popular Cinema deny the community identification with the nation. It establishes Hindi cinema as the 'de facto' national cinema and explores the nature of identity and communal relations between the two major Indian religious communities, Hindus and Muslims through an analysis of popular films. It identifies an imbalance in representations of Muslim life where few films show Hindus and Muslims as sharing social and cultural life or where Muslims are represented as modern subjects: an absence of films on 'partition', the division of the country which occurred at the moment of independence, in August 1947; and reproduces stereotypical representations of Muslims as 'the outsider', the villain, or the terrorist at different times in history. The thesis considers the impact of the animosity between Hindus and Muslims concurrent with the rise of Hindu nationalism on Hindi cinema's representations of Muslims. These cumulative representations and absences result in the abrogation of identity for them as citizens through public culture. But it also sees that the complete disavowal of this cinema is problematic for the Muslim participation in the industry, the possibility of the Muslim spectator pleasurable reading of Hindi films; and the observation that representations change over the period in question. The representations broadly move from the secular to the bigoted over the course of the period under consideration.
37
Walsh, Lau Man Yee Eliza, and 劉敏儀. "In search of identity: Hong Kong as seen through its cinema from the 1950s to the early 1980s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213728.
Full text
38
Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.
Full text
39
Marie, Laurent. "The French Communist Party and French cinema 1944-1999." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/3061/.
Full textAbstract:
This dissertation examines the relationship between the French Communist Party (PCF) and French cinema between 1944 and 1999. The approach adopted is an historical and political one, exploring the context behind the changing relations between the Party and the film industry. Both institutions have played a crucial part in the weaving of the political and cultural fabric of the country throughout the period. For both the PCF and French cinema, the Liberation marked a new beginning and a new relationship with the French state. Looking closely at the French Communist outlets over four key periods - the Liberation and the Cold War, the New Republic, May '68 and the 1990s -, the evolution of the positions of the PCF regarding both film as an industry and film as an art-form is examined with particular emphasis on the links and the differences between the film policy advocated by the PCF and its critical discourse on French cinema. Since 1944 and PCF has kept a close watch on France's film industry, participating, from the Blum-Byrne agreements to the demonstrations against the MAI, in every battle for its defence. The unique blend of State involvement in film matters and professional resilience in the face of foreign competition which defines French cinema today owes much to this Communist involvement. Yet in spite of this continuous support the PCF has not left a strong mark on French cinema either in aesthetic or ideological terms, and the silver screen has hardly ever broadcast the PCF viewpoint. The reluctance shown by some in the Party to acknowledge the concept of auteur as well as the Party's own history serve to explain this absence. Until the 1980s, the PCF's discourse was dominated by the defence of France's national culture, although some Communist critics and auteurs disputed this vision tainted with economism.
40
Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.
Full text
41
Benfey, Matthias Wilhelm. "Religious cinema as virtual religious experience : a theory of religious cinema applied to Werner Herzog's Herz aus Glas." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72087.
Full textAbstract:
The dissertation is an exercise in the application of the philosophical hermeneutics of Paul Ricoeur and the biblical hermeneutics of John Dominic Crossan to the aesthetics of religious cinema.The thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case).
Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.
42
Roesch, Stefan, and n/a. "There and back again - comparative case studies of film location tourists� on-site behaviour and experiences." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080211.090920.
Full textAbstract:
Over the last decade, film location tourism has been established as a niche segment in the tourism industry. While this niche has attracted attention from both researchers and marketers alike, not much knowledge has been accumulated about the tourist encounter itself. It is the main purpose of this thesis to research on-site behavioural and experiential aspects of the film location encounter.
For the overall research design, an inductive, comparative case-study approach was implemented. Three cases were selected for this research: The Lord of the Rings locations in New Zealand, The Sound of Music locations in Austria and Star Wars locations in Tunisia. The applied methods are participant observation, image-based data and semi-structured interviews. The data collection was conducted while participating in organised film location tows in order to secure access to the informants.
The first fundamental outcome of this research is that there is no 'film location tourist' as such. People who travel to film locations come from different socio-economic backgrounds, comprise all age groups and possess varying degrees of fandom. The majority of film location tourists, however, have one thing in common, regardless of the underlying movie genre: the longing to connect with the imaginary world of the film by visiting the physical and thus 'real' location places. These places are consumed in two ways: as places of spectacle and as sacred places.
The nature of the location consumption is dependent on a number of factors, including the degree of fandom of the consumers, the attractiveness of the encountered locations, the consistency of the interpretive community, the amount and nature of external distortions and, if applicable, the structure of the location tour. Means of consumption of film locations as spectacle are formal posing, sight recordings and shot re-creations. When experiencing film locations as sacred places, shot re-creations, mental simulations and filmic re-enactments occur. The latter form of consumption can result in a symbiosis between the imaginary and the real place component: the gazing subject becomes the previously (photographed) object.
Regardless of the degree of experiential satisfaction, film location tourists want to bring some of the magic back home. This is achieved not only via mental pictures and physical photographs, but also through souvenirs. These can be off- or on-site. Regarding the latter, these souvenirs are almost holy relics, brought home from a successful pilgrimage and subsequently framed and displayed in an altar-like fashion. The benefits from this are not only self-pride and satisfaction, but also the distinction to other movie fans who have not been able to do the journey themselves. Thus, the person in possession of such a relic gains privileged status amongst peers which in turn raises the satisfaction with the location encounter.
The film location experience cycle comes to a full closure by re-watching the movie. This procedure involves a renewed connection to both the imaginary filmic places as well as the real locations visited. The filmic gaze is extended, as the movie scenes are now seen as part of a real place which extends beyond the filmic sight.
Keywords: Film location tourism - multiple, comparative on-site case study inquiry - film locations as spatial and temporal constructs - the film location tourist encounter - behavioural and experiential interactions with place.
43
Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
Full text
44
Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.
Full textAbstract:
In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.
45
Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.
Full text
46
Mechar, Kyle William. "The cultural logic of dis-ease : difference andas displacement in popular discourses of the AIDS crisis." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23229.
Full textAbstract:
This thesis investigates the cultural and social production of AIDS in popular discourse, particularly film and mass media, and offers a critical consideration of the ways in which the proliferation and dispersion of these discourses function in our current episteme to rearticulate and reinscribe traditional value systems of sexuality, familialism, and nationalism. Taking the lead of the work of Michel Foucault on the body in various historical regimes, the author here will posit a theoretical analysis of the "discursive formation" of AIDS, how the body of AIDS is put into discourse, to provide a matrix for establishing the various disciplinary and regulatory apparatuses structuring the epidemic--that is, the affirmation of certain kinds of pleasures and bodies and the strategic circumvention of other pleasures and bodies. Under what the author refers to as the cultural logic of dis-ease, the investigations that follow will be animated by the central question: Whose pleasure and/or power is served by these representations and discourses of the body of AIDS in popular cultural practices?
47
Mukhida, Leila. "Politics and the moving image : contemporary German and Austrian cinema through the lens of Benjamin, Kracauer and Kluge." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5669/.
Full textAbstract:
This thesis charts the trajectory of a strand of film-theoretical optimism in texts by Walter Benjamin (1882-1940), Siegfried Kracauer (1889-1966) and Alexander Kluge (1932–) from different moments in the twentieth century; the empirical corpus looks to post-reunification German and Austrian cinema to find evidence of this theoretical optimism in contemporary filmmaking practices. The thinkers advocate the leftist-political potential of film to stimulate a critical mode of spectatorship, and are to varying degrees influenced by Brecht and the neo- Marxist politics of the \({Frankfurter Institut für Sozialforschung}\). The objective of this thesis is thus twofold. First, it illustrates the continuing relevance of the following principal strands in the film-theoretical texts of Benjamin, Kracauer and Kluge: the representation of the figure of the worker in the \(Arbeiterfilm\) genre; the possibilities and limits of capturing reality using different modes of realism; the imperative of challenging viewers in order to transform them from ‘consumers’ into collaborators; and, following on from this, notions of shock and distraction, focusing on Benjamin’s concept of the ‘Schockwirkung’. Second, it shows how this diachronic, neo-Marxist approach can continue to illuminate facets of the political in contemporary cinema by German-speaking directors in an age of advanced capitalism and digital reproducibility.
48
Cobb, Thomas. "Decade of disarray : Hollywood allegories of U.S. foreign policy, 1999-2009." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8660/.
Full textAbstract:
This thesis explores how a series of Hollywood films allegorised the contradictions of American foreign policy between 1999 and 2009. These contradictions are underlined in pictures that use military intervention as a subtext. My argument considers the role of allegory in an array of genres, including war pictures, Westerns, and comic book adaptations. The case studies I analyse allegorise a bipartisan consensus surrounding military intervention. I postulate that this consensus was crystallised in the Kosovo War of 1999 and later became apotheosised in the 2003 Iraq War. I contend that, in pictures as diverse as There Will be Blood (2007) and The Dark Knight (2008), political allegory critiques the bipartisan allure of both neoconservatism and liberal interventionism’s promises of exporting American democracy. Moreover, these narratives examine the ideas of International Relations theorists as diverse as Walter Mead, Walter McDougall, and Joseph Nye. The theories propounded by these authors become embodied in different characterisations, leading to storylines that connote ideological friction and philosophical inconsistency. Consequently, Hollywood cinema during this period highlights a contradiction in American foreign policy, a theme that is further encoded in narrative elements that focus on the strained politics of coalition building and winning hearts and minds.
49
Jiwaji, Aamera Hamzaali. "Negotiating the global : how young women in Nairobi shape their local identities in response to aspects of the mexican telenovela, Cuando seas mia." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1013364.
Full textAbstract:
Latin American telenovelas have been exported to more than a hundred countries across the globe. While they are popular in their country of production because their messages resonate with their audience’s everyday experiences, their popularity amongst global audiences with whom they share neither a social nor a cultural history is unexplained. Kenya has been importing and airing Latin American telenovelas since the early 1990s, and telenovelas have permeated many aspects of Kenyan daily life, when compared to other foreign globally-distributed media products that are aired on Kenyan television. As global media products, telenovelas remain open to criticisms from the media imperialism thesis. This research adopts an ethnographic approach to the study of audiences, and looks at the reception of a Mexican telenovela, Cuando Seas Mia, by a group of young Kenyan women in Nairobi. It reflects upon the media imperialism thesis from an African perspective by investigating the meanings that these women make from Cuando Seas Mia, and how these shape their changing local identities and cultures. The young women in this study, most of whom have moved to the city from the rural areas, are influenced by traditional, patriarchal Kenyan society and by the modern, Western influences of an urban environment. They experience a tension between their evolving rural and urban roles and identities and are drawn to telenovelas because their exploration of rural-urban themes holds a relevance to their own lives. They negotiate their contemporary African youth identities, gender roles and heterosexual relationships in relation to representations in the telenovela, questioning and destabilising African and Western definitions. These women select aspects from their traditional, African cultures and from their modern, Western experiences (and consumption of global media) and reconstruct them into a transitional youth identity which suits their day to day lives as young women living in an urban African environment.
50
Chéné, Johanne. "La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.
Full text