Dissertations / Theses: 'Narration in the Fiction Film'

1

Bignell, Jonathan. "The moving image : narrative construction in film and television fiction." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303240.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lundqvist, David. "Ett dolt narrativ : En kognitiv studie av Richard Linklaters film Waking Life (2001)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26938.

Full text

Abstract:

Syftet med denna uppsats är att analysera filmen Waking Life (Richard Linklater, 2001) utifrån David Bordwells narratologiska perceptionsteorier för att tydliggöra filmens narrativa konstruktion på ett kognitivt plan. På senare år har det kommit allt fler filmer som utmanar åskådaren med ett experimentellt berättelseformat. Waking Life tillhör den gruppen men lämnar också extra rum för åskådarens egna tolkningar. Genom ett fokus på filmens protagonist och dennes öde så riktar uppsatsens näranalys in sig på filmens underliggande berättelse, som i filmen döljer sig och samtidigt blandas med filmens filosofiskt inriktade innehåll. Näranalysen anknyter ständigt till Bordwells teorier som också visar sig vara väl användbara för en grundläggande linjär analys, men uppmärksammar samtidigt vissa av teorins brister. Sammanfattningsvis förtydligar uppsatsen detta genom att peka på vikten av åskådarens medvetenhet om vem eller vilka det är som egentligen berättar en film. Här är Waking Life med sitt experimentella narrativa upplägg och känslan av ett högst personligt berättande ett passande exempel.

APA, Harvard, Vancouver, ISO, and other styles

3

Maillet, Adam Michael. "The Theory of Narrative Balance and its Application to High Stakes Fiction." Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10002462.

Full text

Abstract:

This dissertation seeks to create a theory of narrative balance based upon the connection between economics and literary narrative, and to apply that theory to postmodern texts, which confront issues of space, economics, and narrative. I use sources in both postmodern economic and cultural theory, as well as the more modern influences of cognitive science, narratology, and evolutionary psychology. My work will build on the work of several cognitive and evolutionary scholars, including David Herman, Lisa Zunshine, Blakey Vermeule, Nancy Easterlin, and Merlin Donald, but the concept of “space” creates a gap through which I blend theories of the postmodern with cognitive psychology. I argue that narrative fictions have an “economic” quality to them and that causality becomes increasingly conflated with what some would call “meaning,” others, “literariness.”

APA, Harvard, Vancouver, ISO, and other styles

4

Moss, Jaime. "Archiving Loss: The Man Who Burned Paper." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1406.

Full text

Abstract:

AN ABSTRACT OF THE THESIS OF JAIME MOSS for the Master of Fine Arts degree in MASS COMMUNICATIONS AND MEDIA ARTS, presented on FEBRUARY 13TH, 2014 at Southern Illinois University Carbondale. TITLE: ARCHIVING LOSS: THE PAPER MAN BEHIND THE MASK MAJOR PROFESSOR: Sarah Lewison, H.D. Motyl, Fern Logan, Dru Vratil This paper is companion to the narrative short, The Man Who Burned Paper. Both this paper and the film deal with the subject of identity loss as an archive, building on the work of sociologists Andrew J. Weigert and Ross Hastings. Drawing on several sources, including the work of literary scholars, affect theorists, and an excerpt from This American Life, this paper explores what it is to create and lose an identity both experimentally and existentially. It develops beyond this exploration by reconstructing it through a cinematic format that uses memories, flashbacks, and body doubles to narrate one man's identity construction and his journey to come to terms with its loss. It concludes that while identity loss is a unique experience, reflecting upon the loss and dysfunction it can bring can create space to understand the sorrow and pain that accompanies it. It is with hope that the findings discovered from this deeply personal and challenging process will act as a guide towards future actions that allow for new opportunities that improve the quality of life and a broader mindset.

APA, Harvard, Vancouver, ISO, and other styles

5

Walters, Peter. "Narrative in fiction and film : a practical study of the nature of cross-pollination in narrative structure." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/11930/.

Full text

Abstract:

Written literature has evolved significantly over the centuries. The typical novel of the twenty-first century is different in form from the novel of the mid-nineteenth. Modern novels tend to have less descriptive exposition and are less apt to follow previous conventions of omniscient narration. What factors have influenced this change? At the end of the nineteenth century, for the first time in recorded history, a new art form emerged, one that was based on the technological achievement of the recorded moving image. This study examines to what extent, and in which ways, the new art form, cinema, has affected written literature, particularly the novel. What are the elements of cinema technique that have influenced writing on a structural level? How do they manifest themselves at a level of text? The research framework approaches these questions both theoretically and practically. The theoretical aspect examines sets of texts to see if anything definitive can be stated about this ‘cross-pollination’ of form. The investigative paradigm pursues avenues of research that incorporate structural analyses of texts and also the ways in which those texts operate at a level of mental processing. My intention is to concentrate more fully on ‘what those texts are doing’ rather than ‘what they are’. The approach is broadly ‘cognitive’, one that examines the processes that are undertaken during the reception of texts and during their production. The practical element of this framework is in the form of a novel, Jacks, which forms Volume 2 of this study. Here, the fictional account is designed to reflect aspects of the theoretical approach and to include subject matter pertaining to film and creative processes, to illustrate elements of the theory in a creative form. A final section proposes practical outcomes for the theory in the fields of creative writing practice and pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

6

Simpson, Harriet. "Looking into distance : feminine narrative strategies and the male gaze in female narrated prose fiction 1680-1780." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366975.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Gupta, Anjali. "Beneath Still Waters: An Exploration of Transmedia Narratives and Twitter Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/604.

Full text

Abstract:

Beneath Still Waters is an original transmedia mystery narrative that explores the possibilities of an interconnected media landscape as a unique platform for creative use and audience engagement. Transmedia storytelling refers to the building of a fictional world comprised of multiple parts across different platforms, where each component makes a valuable contribution to the whole. This project uses the tools and strategies of social media to tell a complex and interactive multi-platform story.

APA, Harvard, Vancouver, ISO, and other styles

8

Richards, Samantha. "The Construction of Truth in Fiction: An Analysis of the Faux Footage Genre in Television." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1197.

Full text

Abstract:

This paper explores the way that “truth” is constructed in a fictional sphere through visual and narrative references. I draw upon Caetlin Benson-Allott’s Paranormal Spectatorship, and Jay David Bolter and Richard Grusin’s Remediation to inform my analysis of these constructions. I look specifically at Roanoke, the sixth season of American Horror Story, to provide examples of the way faux footage horror’s unique use of the subjective shot constructs the spectator as both a witness and an interrogator, and creates an aesthetic language of truth. While being immersed in the story, viewers are simultaneously invited to consider how the narrative is being constructed, and by whom. This parallactic viewing experience suggests a future for the unique challenge of serialized televisual horror.

APA, Harvard, Vancouver, ISO, and other styles

9

Johansson, Christer. "Mimetiskt syskonskap : En representationsteoretisk undersökning av relationen fiktionsprosa-fiktionsfilm." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7447.

Full text

Abstract:

The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

APA, Harvard, Vancouver, ISO, and other styles

10

Martel, Alexandre. "Intermédialité et déconstruction de la fiction chez Alain Robbe-Gillet : analyse comparative de "La maison de rendez-vous" et de "L'homme qui ment"." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26823.

Full text

Abstract:

Alain Robbe-Grillet, d’abord connu en tant que romancier, a dès le début des années 1960 partagé son temps entre le cinéma et la littérature. Après avoir fourni le scénario de L’année dernière à Marienbad, il est passé derrière la caméra et a réalisé une dizaine de films qui, tant par leur forme que leur propos, poursuivent les recherches esthétiques entreprises dans sa pratique littéraire. Plus encore, il nous semble que le début de cette aventure cinématographique marque un tournant dans son œuvre. Alors que le point de vue qui portait les premiers romans — point de vue que les critiques ont rapproché de celui d’une caméra —, marquait déjà la dimension intermédiale de son œuvre, il apparaît que son passage dans la chaise du réalisateur a été le germe d’une radicalisation de sa pratique. Ainsi, les romans et les films qui ont suivi possèdent une portée intermédiale beaucoup plus large. De fait, c’est l’ensemble de la narration qui s’y trouve remise en question par la mise en évidence des spécificités de chacun des médias et par la transposition de procédés propres à la littérature dans le film, et vice versa. C’est par une étude comparative de La maison de rendez-vous (1965) et de L’homme qui ment (1968) que nous montrons en quoi consiste la relation intermédiale que Robbe-Grillet établit entre les disciplines, en plus de mettre en évidence les mécaniques qui, ancrées dans la matérialité des médias, fondent le roman et le film.

APA, Harvard, Vancouver, ISO, and other styles

11

Piper, Paige M. "Deathly Landscapes: The Changing Topography of Contemporary French Policier in Visual and Narrative Media." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469133497.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Peltonen, Måns. "In the end, the son suffers the sins of the father : En studie om köns- och genusperspektiv i film och dess applicering i gymnasieskolans svenskundervisning." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32891.

Full text

Abstract:

Syftet med detta arbete är att undersöka hur science fiction skulle kunna användas i undervisning på gymnasiet i svenskämnet samt det mer övergripande värdegrundsarbetet. Frågorna som ställs är: Vilka teman kring genus och könsnormer tas upp i verken och vad är budskapet som presenteras? Hur kan innehållet i verken kopplas till läroplanen och implementeras i litteraturundervisningen i gymnasieskolan? För att genomföra undersökningen har jag använt mig främst av diskursanalys och hermeneutik och analyserat materialet med hjälp av filmteoretisk och genusvetenskaplig litteratur. Resultatet som presenteras är att de tre filmer som analyseras har de faktorer som behövs för att kunna användas i klassrummet och att innehållet kan bidra till att utveckla värdegrundsarbetet med fokus på kön och genus.

APA, Harvard, Vancouver, ISO, and other styles

13

Magnuson, Markus Amalthea. "The Dig : De grafiska äventyrsspelen som flyktigt medium." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179044.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Wanas, Al Hussein. "Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3142.

Full text

Abstract:

Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.

APA, Harvard, Vancouver, ISO, and other styles

15

Middleton, Alexis Turley. "A True War Story: Reality and Simulation in the American Literature and Film of the Vietnam War." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1492.

Full text

Abstract:

The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.

APA, Harvard, Vancouver, ISO, and other styles

16

Sanyal, Sudipto. "An Uncertain Poetics of the Intoxicated Narrative: Drugs, Detection, Denouement." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367932599.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Haevens, Gwendolyn. "Mad Pursuits : Therapeutic Narration in Postwar American Fiction." Doctoral thesis, Uppsala universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-263167.

Full text

Abstract:

Mad Pursuits: Therapeutic Narration in Postwar American Fiction examines three mid-century American novels—J.D. Salinger’s The Catcher in the Rye (1951), Ralph Ellison’s Invisible Man (1952), and Sylvia Plath’s The Bell Jar (1963)—in relation to the rise and popularization of psychoanalytic theory in America. The study historicizes these landmark novels as representing and interrogating postwar America’s confidence in the therapeutic capacity of narrative to redress psychological problems. Drawing on key concepts from narrative theory and the multidisciplinary field of narrative and identity studies, I argue that these texts develop a multi-layered, formal problematization of therapeutic narration: the narrativization of the self through modes of interpretation based on character action and development. The study, thus, investigates how the texts both critique the purported effectiveness of being healed through narrative means, as well as how they problematize their society’s investment in this method. I propose that the novels ultimately explore submerged possibilities for realizing what I call fugitive selves by creating self-representations that negotiate and exceed the confines of the paradigmatic models of plot and character of the period. In Chapter One, I argue that the ego and pop psychological movements during the postwar era encouraged the American public to define and realize psychological health, success and happiness through narrativized means. I show in Chapter Two how careful differentiation between narrative levels of interpretation in The Bell Jar reveals the novel’s complication of the self created in narrative, with and against the socio-cultural scripts and therapeutic assumptions of the period. Chapter Three concentrates on The Catcher in the Rye’s various methods of de-composing the narrative identity of the subject created through developmental and therapeutic narration. In the final chapter, I read Invisible Man as a satire of postwar psychoanalytic theory and method specifically concerning racialized narrative identities, and as a reflection on a method of enduring psychological illness. The Conclusion brings together several argumentative strands running throughout the dissertation regarding what the novels contrastively reveal about the perils, and even the possibilities, inherent in the narrativizing of the self in early postwar America.

APA, Harvard, Vancouver, ISO, and other styles

18

Naaman, Dorit. "Sensing film, a cognitive approach to film narration and comprehension." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0014/NQ59640.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Al-Qasem, Ruby Rodman Barbara Ann. "True selves narrative distance in stories of fiction and nonfiction /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12069.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Von, Gunden Thomas James. "Snaring the spectator : narration, sexual difference, film noir /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844105977659.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Wells, Lynn. "Allegories of telling self-referential narrative in contemporary british fiction /." Amsterdam ; New York, NY : Rodopi, 2003. http://catalogue.bnf.fr/ark:/12148/cb38970344x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Griffith, J. W. "The Half-History of Spiro Elisha White." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1875.

Full text

Abstract:

The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.

APA, Harvard, Vancouver, ISO, and other styles

23

Reitere, Elīna [Verfasser]. "Narration in slow cinema / Elīna Reitere." Mainz : Universitätsbibliothek Mainz, 2018. http://d-nb.info/1150981393/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Aubry-Morici, Marine. "Pensée, narration, fiction. L’art combinatoire de l’essayisme italien hypercontemporain (2000-2019)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030064.

Full text

Abstract:

La thèse propose d’étudier les phénomènes actuels de contamination générique entre le récit et l’essai dans la littérature italienne du XXIe siècle, à travers la catégorie de l’essayisme. Elle s’appuie sur les théories de l’essai formulées au XXe siècle, en particulier celles de Lukács, Bense et Adorno, à partir d’un corpus hypercontemporain (Franco Arminio (1960 - ), Vitaliano Trevisan (1960 - ), Tommaso Pincio (1960 - ) et Giorgio Vasta (1970 - ). Si l’essai italien a été surtout circonscrit à la critique littéraire ou politique, ses nouvelles formes, sur fond général d’hybridation entre fiction et non fiction, mettent en crise les catégories existantes. La thèse montre leur continuité avec la tradition depuis Montaigne, celle d’une écriture réflexive organisée par le « je ». L’essayisme italien actuel médite, commente, spécule, autour d’objets divers, et s’autorise pour cela de plus en plus le recours à la narra- tion et à la puissance imaginative. Il est donc étudié comme écriture combinatoire et mimétique qui emprunte des formes aux autres genres (biographie, autofiction, reportage narratif) et puise des procédés littéraires dans le réservoir de la littérature (épiphanies, allégories, dépaysements) au service d’une « pensée en train de se faire ». La recherche montre qu’en alliant pensée, narration et fiction, il fait de sa portée réflexive et de la « thématisation » son pivot organisateur. Elle interroge cette pensée du réel et cette écriture critique en les mettant en regard avec la philosophie, l’anthropologie et la sociologie de notre temps, pour montrer que ces formes d’écritures forment un laboratoire du sens et d’interprétation de notre présent
The dissertation proposes to study current phenomena of generic contamination between the story and the essay in Italian literature of the 21st century, by way of the category of essayism and by drawing on theories of the essay formulated in the 20th century, in particular those of Lukács, Bense and Adorno, considering a hyper-contemporary corpus (Franco Arminio (1960 - ), Vitaliano Trevisan (1960 - ), Tommaso Pincio (1960 - ) and Giorgio Vasta (1970 - ). If the Italian essay has been often confined to the forms of literary or political criticism, its newest forms, renewable in more general contexts of hybridization between fiction and nonfiction, put existing categories in a state of crisis. The dissertation shows that in continuing the tradition of reflexive writing organized around the “I,” (Mon- taigne), current Italian essayism mediates, comments, speculates around a variety of objects, and in doing so, allows itself more and more to resort to narrativity and the power of the imagination. It is therefore studied as a combinatory and mimetic form of writing that borrows forms from other genres (biography, autofiction, narrative reporting) and draws on the literary reservoir for its processes (epiphanies, allegories, estrangement) in order to serve the “thought in the making.” The research reveals that current Italian essayism, in making allies of thought, narration and fiction, presents itself as an ars combinatoria basing its organizational fulcrum on its reflexive scope as well as on “thematization.” It questions this reflection on the real and this critical writing of the present, through their con- sideration alongside the philosophy and anthropology of our time

APA, Harvard, Vancouver, ISO, and other styles

25

Fletcher, Elizabeth. "South African crime fiction and the narration of the post-apartheid." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4287.

Full text

Abstract:

Magister Artium - MA
In this dissertation, I consider how South African crime fiction, which draws on a long international literary history, engages with the conventions and boundaries of the genre, and how it has adapted to the specific geographical, social, political and historical settings of South Africa. A key aspect of this research is the work’s temporal setting. I will focus on local crime fiction which is set in contemporary South Africa as this enables me to engage with current perceptions of South Africa, depicted by contemporary local writers. My concern is to explore how contemporary South African crime fiction narrates post-apartheid South Africa. Discussing Margie Orford’s Daddy’s Girl and the possibilities of South African feminist crime fiction, my argument shoes how Orford narrates post-apartheid through the lens of the oppression and abuse of women. The next chapter looks at Roger Smith’s thriller Mixed Blood. Smith presents the bleakest outlook for South Africa and I show how, even though much of his approach may appear to be ‘radical’, the nihilism in his novel shows a deep conservatism. The third South African crime novel I examine is Diale Thlolwe’s Ancient Rites and I discuss it in the light of his use of the conventions of ‘hardboiled’ crime fiction as well as rural/urban collocations. In this case, the author’s representation of postapartheid South Africa appears to reveal more about the author’s personal views than the country he attempts to describe. The fourth and final novel I discuss is Devil’s Peak by Deon Meyer. My discussion here focuses on the notion of justice in post-apartheid South Africa and Meyer’s ambiguous treatment of the subject. This discussion of contemporary South African crime fiction reveals what the genre might offer readers in the way they understand post-apartheid South Africa, and how it might be seen as more than simple ‘entertainment’.

APA, Harvard, Vancouver, ISO, and other styles

26

Chen, Lifen. "Fictionality and reality in narrative discourse : a reading of four contemporary Taiwanese writers /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6624.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Ross, Simon David. "Nostalgia in postmodern science fiction film." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472741.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Wang, Hao. "Dunhuang xiao shuo ji qi xu shi yi shu = Dunhuang xiaoshuo jiqi xushi yishu /." Hefei Shi : Anhui ren min chu ban she, 2005. http://www.loc.gov/catdir/toc/chi0701/2006430115.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Brooks, Darren. "'Rankin's Scotland' : contemporary Scottish crime fiction and a narration of modern Scotland." Thesis, University of Sunderland, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654719.

Full text

Abstract:

Ian Rankin is one of the world's best-selling authors of crime fiction. His series of Inspector Rebus novels, set in contemporary Edinburgh, have been translated into thirty-six languages and have achieved wide critical and commercial success. Yet for all its global reach, the Rebus series collectively asserts a more nuanced story: that of modern Scotland. The first novel, Knots & Crosses, was published in 1987, in the years after the failed devolution referendum of 1979 and in a decade of industrial tumult. In 2007, as 01 John Rebus was compelled to retire from Lothian and Borders Police in Exit Music, Scotland was an altogether different nation: now devolved from Westminster, with a definitively Scottish Parliament situated in Edinburgh, and the Scottish National Party elected to government for the first time. During the twenty years in between, Rankin's sustained crime fiction initiated the nation's first true crime writing tradition. This study explores the ways in which this series of crime novels collectively asserts a distinctive narration of modern Scotland. To do so, the series is 'de-integrated' for close, chronological study: the thesis is organised into four key chapters, and is bookended by introductory and concluding sections. Chapter 1 studies Rankin's first four Rebus novels, alongside influential themes of Scottish crime and literary history. Chapter 2 explores, via his next three novels, Rankin's representation of Edinburgh, and the sub-genre of crime fiction his work initiated. This chapter also includes specific analysis of his breakthrough novel, Black & Blue. Chapter 3 looks at how a pivotal two-book sequence 'disrupted' Rankin's narrative project, in light of his series' commercial success and its changing imperatives. Scotland's renewed selfdetermination is also explored briefly in relation to its symbiotic relationship to the growth of Scottish crime fiction. Chapter 4 explores the series' 'valedictory' novels, as we follow Rebus through to his statutory retirement. Crucially, the introduction presents selected ideas on narrative of French philosopher Paul Ricoeur, which I apply to the collected Rebus series. Through these ideas, Rankin's 'epic' story of modern Scotland can be discerned. The (in)conclusion considers briefly the possible future - or not - for crime fiction in Scotland as the nation prepares for its 2014 referendum on full independence from the United Kingdom. It is anticipated that this study will contribute to the growing corpus of literature seeking to understand the development of crime fiction in Scotland, and lan Rankin's work in particular. It is hoped - by its end - that it will assist in Rankin's selfconfessed interpretation of his Inspector Rebus series as a serious means of understanding contemporary Scotland.

APA, Harvard, Vancouver, ISO, and other styles

30

Camatsos, Efrosini. "Gendering narration? : the female 'I' in Modern Greek prose fiction, 1924-1962." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619644.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Lagacé, Michel Francis. "Dialogue entre narrateur et narrataires, facétie romanesque intitulée La gaie planète et essai théorique afférent." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26384.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Ribeiro, Márcio Almeida. "A estética do documentário cinematográfico no cinema contemporâneo de ficção científica: um olhar sobre o filme "Distrito 9" de Neill Blomkamp." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1861.

Full text

Abstract:

Made available in DSpace on 2016-03-15T19:42:25Z (GMT). No. of bitstreams: 1 Marcio Almeida Ribeiro.pdf: 3951759 bytes, checksum: 0136bfec093328ad1e98bb0bf4238f9c (MD5) Previous issue date: 2013-02-06
The purpose of this work is through an analysis of the feature sci-fi movie District 9, by Neill Blomkamp, investigate the use of documentary aesthetic as the proposed narrative for the film, as well as evaluating the choices of the director from the moment it is necessary to replace the documentary style in favor of a traditional narrative film to benefit the film's plot. This duplicity of styles will also be the object of analysis of this study. It will be presented a brief history of cinema, its principal names, as well as the influence of their work in the development of the film industry. We will identify the characteristics of the documentary, the most important filmmakers of this movement and its influence on the development of other movements in film history.
O propósito deste trabalho é, através de uma análise do longa-metragem de ficção científica Distrito 9, de Neill Blomkamp, investigar a utilização da estética do documentário como proposta narrativa para o filme, bem como avaliar as escolhas do diretor a partir do momento em que é necessário substituir o estilo documentário em prol de uma narrativa cinematográfica tradicional em benefício do enredo do filme. Essa duplicidade de estilos também será objeto de análise deste trabalho. Será apresentada uma breve história do cinema, seus principais nomes, bem como a influência de seu trabalho no desenvolvimento da indústria cinematográfica. Serão identificadas as características do documentário, os cineastas mais importantes desse movimento bem como sua influência no desenvolvimento de outros movimentos na história do cinema.

APA, Harvard, Vancouver, ISO, and other styles

33

Balcells, Nicholas M. "Reality Meets Fiction." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/403.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Godsall, Jonathan. "Pre-existing music in fiction sound film." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633201.

Full text

Abstract:

A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on concepts and frameworks from fields beyond that of the study of music in film, including literary theory and scholarship on musical borrowing defined more generally, and incorporates discussion of factors such as those of copyright and commerce alongside examination of texts and their effects. The thesis establishes a framework from which future work in the area can more efficiently proceed, and in relation to which previous work can be contextualised. Broadly, pre-existing music is shown to have unique attributes that can affect both how filmmakers construct their works (practically as well as artistically), and how audiences receive them, while film is argued to be a powerful influence in and on processes of musical reception. The thesis is a significant contribution to scholarship on music on film, but can also be seen as a study of the reception of music (both by and through film), and as situated within the fields of scholarship on musical borrowing and musical intertextuality.

APA, Harvard, Vancouver, ISO, and other styles

35

Vigier, Stéphanie. "La fiction face au passé : histoire, mémoire et espace-remps dans la fiction littéraire océanienne contemporaine." Nouvelle Calédonie, 2008. http://portail-documentaire.univ-nc.nc/files/public/bu/theses_unc/TheseStephanieVigier2009.pdf.

Full text

Abstract:

L’héritage colonial et la mondialisation interrogent les sociétés océaniennes contemporaines sur leur relation au passé. Dans les récits de fiction océaniens la représentation de l’histoire occupe ainsi une place importante. La place de l’histoire dans la fiction pose tout d’abord le problème de la relation des hommes au passé et engage le rapport entre histoire et mémoire. Elle implique également la conception du temps et de l’espace, et en particulier l’originalité de l’approche océanienne de ces concepts. Mais les récits océaniens travaillent le concept même d’histoire en interrogeant les modalités de l’action humaine et en configurant une expérience originale de l’espace-temps. Les récits de fiction figurent ainsi une historicité originale qui rend l’initiative au sujet océanien et lui permet de s’approprier les apports exogènes sans renoncer à son éthique et son identité particulières, héritées de ses ancêtres et sans cesse réactualisées en fonction de circonstances changeantes.

APA, Harvard, Vancouver, ISO, and other styles

36

Al-Qasem, Ruby. "True Selves: Narrative Distance in Stories of Fiction and Nonfiction." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12069/.

Full text

Abstract:

True Selves: Narrative Distance in Stories of Fiction and Nonfiction consists of a scholarly preface and four creative works. The preface discusses narrative distance as used in both fiction and nonfiction, and as compares to other narrative agents such as point of view, especially in contemporary creative writing. The selection of stories examines relationships, especially familial, and themes of isolation, community, and memory. Collection includes two chapters of a novel-in-progress, Fences, short fiction story "Trees and Furniture," and creative nonfiction essays, "Floating" and "On the Sparrow."

APA, Harvard, Vancouver, ISO, and other styles

37

Kaute, Brigitte. "Die Ordnung der Fiktion : eine Diskursanalytik der Literatur und exemplarische Studien /." Wiesbaden : Deutscher Univ.-Verl, 2006. http://www.loc.gov/catdir/toc/fy0702/2006483399.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Previtera, Roberta. "Le cinéma dans la fiction Hispano-Américaine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040192.

Full text

Abstract:

Ce travail a pour objectif l’analyse de l’influence du cinéma dans la littérature hispano-américaine. L’hypothèse centrale est que dès que le cinéma, par essence un art de masse, a commencé à gagner sa place dans le système des arts, il a influencé la façon dont les écrivains représentent la réalité. L’enthousiasme que le cinéma a réveillé chez de nombreux écrivains latino-américains depuis le début, et la pénurie d’études critiques à ce sujet, font de l’Amérique Latine un terrain très fécond pour mener à bien nos recherches. Notre travail est structuré en trois parties. Dans la première nous introduisons la problématique qui nous intéresse avec une attention spéciale aux travaux de sémiologie et de narratologie élaborés à partir des années soixante. Nous reprenons la séparation structuraliste entre « histoire » et « narration » pour distinguer deux niveaux d’emprunt différents, que nous analysons séparément dans la deuxième et la troisième partie.Dans la deuxième, nous considérons le concept d’influence depuis une perspective intertextuelle, en regardant comment certains récits littéraires ont assimilé des histoires racontées précédemment par le cinéma, les intégrant sous la forme de l’ « insertion » ou à travers un processus de « réécriture ».Dans la troisième partie nous étudions l’influence cinématographique depuis une perspective intermédiale, c'est-à-dire en analysant des cas où le cinéma est évoqué dans sa spécificité médiatique. Dans ces cas, l’emprunt n’a pas lieu au niveau de l’histoire, mais à celui de la narration et les auteurs tentent de reproduire à l’écrit une série de procédés narratifs utilisés à l’écran
This work aims to analyze the influence of cinema on Latin American literature. The central hypothesis is that as soon as cinema, by essence a mass art form, started to win its place in the system of the arts, it influenced the way writers represent reality. The enthusiasm that cinema awoke in many Latin American writers since the beginning, and the lack of critical studies on the subject, make Latin America a very fertile ground for our research. Our work is separated in three sections. First, we introduce the issue at hand, paying special attention to semiology and narratology works starting from the 1960’s. We use the structuralist separation between “story” and “narration” to establish two different levels of borrowing, which we analyze separately in the second and third sections.In the second section, we consider the concept of influence from an intertextual perspective, observing how certain literary texts have assimilated stories previously told by cinema, integrating them under the form of insertion or through a process of rewriting.In the third section we study cinematographic influence from an intermedial perspective, by analyzing cases in which cinema is considered in its specificity as a medium. In these cases, borrowing doesn’t take place at the level of the story, but at that of the narration and the authors attempt to reproduce in writing a series of narrative methods used for the screen

APA, Harvard, Vancouver, ISO, and other styles

39

Jones, Matthew. "Becoming 'film noir' : film noir adaptions of hard-boiled fiction, 1944-46." Thesis, University of Wales Trinity Saint David, 2018. http://repository.uwtsd.ac.uk/900/.

Full text

Abstract:

This thesis interrogates a number of issues that surround what critics have designated ‘film noir’ and its relationship to that branch of modern American literature identified as ‘hard- boiled fiction’. Thus, the main subject matter for the thesis consists of selected films noirs from 1944—46, and the novels of Dashiell Hammett, James M. Cain, and Raymond Chandler. The thesis argues that the adaptation process is of central significance to the ‘film noir’ debate and to film noir itself. While it argues for a dialogic exchange between ‘noir’ and ‘hard-boiled fiction’, it proposes as well that there was also a fundamental incompatibility between the two modes. The thesis discusses the difficulties encountered by Hollywood studios in adapting Cain’s work due to the candid representation of ‘adult’ themes, and how this conflicted with Hollywood censorship, carried out by the Production Code Administration (PCA). In order for Cain’s fiction to be adapted, it is argued, Hollywood conventions regarding the representation of sex and violence and the PCA guidelines by which they were governed had to undergo radical change. The critical and scholarly contexts for this argument include debates concerning influence, censorship, and the involvement of the PCA with the adaptation process, and the notion, as maintained by elements within the revisionist debate, that ‘film noir’ has no conceptual or theoretical basis. The thesis challenges revisionist arguments that ‘noir’ was ‘invented’ by French critics in 1946, and argues that although the genre was named retrospectively, generic practice was established by Hollywood producers in acts of ‘applied criticism’ prior to production, from around 1944 onwards. The thesis contextualises the generic practice of ‘noir’ within the history of film, while arguing simultaneously for historic changes in Hollywood film-making of the mid-1940s in terms of the representation of ‘adult’ themes, and the relaxation of the Production Code. The thesis discusses how criticism has tended to privilege other media, such as the plastic arts and literature, over film, and argues that notions of artistic style and influence must give consideration to the immanence of the film production context. The notion that ‘noir’ was influenced by the artistic movement known as ‘German Expressionism’ has been questioned by the revisionist debate. The thesis examines and discusses key German films of the Weimar period, when the artistic movement ‘Expressionism’ flourished, arguing that the Weimar influence is discernible in the generic practice of ‘noir’. However, the thesis makes a case that this is, primarily, the legacy of Weimar cinema, and that the influence of ‘Expressionism’ should be discussed within this medium-specific context. The thesis examines the connections between the work of a number of influential directors and the signifying practice of ‘noir’, including Murnau, Lang, Hitchcock and Hawks. It is proposed that certain ‘noir’ conventions can be traced back to the work of these influential directors. The thesis proposes a way of understanding ‘film noir’ as a genre, and argues that the adaptation process needs to be seen as a nexus for various discourses, including directorial style, screenwriting, cinematography, the studio system, and censorship, in addition to the relationship between the film and the novelistic text.

APA, Harvard, Vancouver, ISO, and other styles

40

Magen, Guy. "Introduction à une herméneutique du film de fiction : cinéma de fiction et ethnométhodologie." Paris 8, 1997. http://www.theses.fr/1997PA081341.

Full text

Abstract:

Les grands systemes d'analyse du film de fiction que sont la semiologie, le structuralisme et la psychanalyse ne permettent pas de rendre compte de l'objet "film de fiction" en son entier. Ils ignorent l'importance des lois de la perception degagees par 1 a psychologie de la forme ou par la phenomenologie de la perception, ignorent egalement la vision commune du spectateur ordinaire, qu'ils qualifient de point de vue naif. Or l'epistemologie radicalement nouvelle proposee par l'ethnomethodologie ainsi que les concepts clefs qui sont les siens, d' indexicalite, de reflexivite et de cercle hermeneutique, permettent d'envisager sur de nouvelles bases l'interpretation du film de fiction
The great systems which are mainly useful for the analysis of films are not adjusted to. Semiotic, structuralims and psycho-analysis do not take the laws of perception or the usual vision by the common spectator into consideration. With the concepts as indexicallity, reflexivity or hermeneutic circle, we would ground real hermeneutic's hopes on ther new epistemology hold by the ethnomethodology's studies

APA, Harvard, Vancouver, ISO, and other styles

41

Pividal, Rafaël. "De la logique narrative, ou du sens et de la fonction de la fiction." Paris 5, 1995. http://www.theses.fr/1995PA05H013.

Full text

Abstract:

La narration est un type particulier de discours organise. Expression de la socialisation de l'individu par son appartenance à divers groupes : la famille, le clan, la communauté religieuse, les institutions politiques ou juridiques. Ce discours narratif adopte des catégories qui règlent la façon d'ordonner les faits contés. L'analyse permet de dégager ces catégories qui sont modalités de l'être et du faire marqués par l'interdit et la prescription. Cette structure est permanente bien que le lexique et la parole se modifient. Il faut expliquer la permanence de ce que nous appelons la forme canonique du récit de type mythologique. Examiner sa linéarité, sa circularité ainsi que sa chronologie propre. Le problème se pose de savoir si un tel type de discours organise est encore possible dans nos sociétés et d'indiquer les nouvelles formes possibles que peut prendre le récit ou l'histoire aujourd'hui
Narration is a particular type of organized discourse. The expression of socializing as an individual belonging to different groups. The family, the clan ; the religious community, potilical and juridical insituttions. This narrative discourse adopts categories that regulate the way the related facts are put in order. This analysis permits to bring out these categories which are the modalities of being and doing that are stamped by the interdiction and the prescription. This structure is permanent althrough the lexicon and the wording are modefied. We must explain the permanence that we call a cononique form of a mythologique recital, we must examine its linearity, its circularity and also its right chronology. The problem is to know if this type of organized discourse is still possible in our societies and to indicate the new possible ways that the recital can be formulated along with the story today

APA, Harvard, Vancouver, ISO, and other styles

42

McDonnell, Brian. "The Translation of New Zealand fiction into film." Thesis, University of Auckland, 1986. http://hdl.handle.net/2292/2010.

Full text

Abstract:

This thesis explores the topic of literature-into-film adaptation by investigating the use of New Zealand fiction by film-makers in this country. It attempts this task primarily by examining eight case-studies of the adaptation process: five features designed for cinema release (Sleeping Dogs, A State of Siege, Sons for the Return Home, The Scarecrow and Other Halves), one feature-length television drama (the God Boy), and two thirty-minute television dramas (The Woman at the Store and Big Brother, Little Sister, from the series Winners and Losers). All eight had their first screenings in the ten-year period 1975-1985. For each of the case-studies, the following aspects are investigated: the original work of fiction, a practical history of the adaptation process (including interviews with people involved), and a study of changes made during the scripting and shooting stages. The films are analysed in detail, with a focus on visual and auditory style, in particular how these handle the themes, characterisation and style of the original works. Comparisons are made of the structures of the novels and the films. For each film, an especially close reading is offered of sample scenes (frequently the opening and closing scenes). The thesis is illustrated with still photographs – in effect, quotations from key moments – and these provide a focus to aspects of the discussion. Where individual adaptation problems existed in particular case-studies (for example, the challenge of the first-person narration of The God Boy), these are examined in detail. The interaction of both novels and films with the society around them is given emphasis, and the films are placed in their cultural and economic context - and in the context of general film history. For each film, the complex reception they gained from different groups (for example, reviewers, ethnic groups, gender groups, the authors of the original works) is discussed. All the aspects outlined above demonstrate the complexity of the responses made by New Zealand film-makers to the pressure and challenges of adaptation. They indicate the different answers they gave to the questions raised by the adaptation process in a new national cinema, and reveal their individual achievements.
Whole document restricted, but available by request, use the feedback form to request access.

APA, Harvard, Vancouver, ISO, and other styles

43

Clarke, Louisa. "The reproductive body in contemporary science fiction film /." Title page, table of contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arc5985.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

許子東 and Zidong Xu. "Narratives of the "Cultural Revolution" in contemporary Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237915.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Jullier, Laurent. "Le bruit au cinéma : Approche sémio-cognitive des occurrences du bruit dans les films narratifs de fiction." Paris 3, 1994. http://www.theses.fr/1994PA030114.

Full text

Abstract:

Les bruits dans le cinema narratif de fiction sont des sons enregistres (fixes) puis diffuses, qui se combinent avec l'image au sein de mondes construits par le film. Le spectateur cooperatif leur donne un sens, et le but de ce travail est d'etudier, grace a des outils semio-cognitifs, comment il leur donne ce sens. Les operations mentales mises en jeu ici utilisent des processus qui servent aussi dans l'audition quotidienne en direct, et souvent bases, donc, sur une pratique de la confirmation inter-modale. Mais d'autres sont specifiques a la situation : il faut en effet distribuer les informations tirees des donnees de l'ecran le long de plusieurs axes, temps de la projection (probleme du synchronisme), partage champ hors-champ, et mondes diegetiques possibles. Trois grands types d'operations sont distingues : l'identification (chapitres 1 & 2), l'ancrage dans les sources suggerees par le film (chapitres 3 & 4) et l'interpretation du point de vue de la progression du recit (chapitre 5). Le film peut, au travers des bruits, favoriser l'idee d'homogeneite du dispositif (causalite verticale : le bruit se presente comme "preuve" de la simultaneite du prelevement audio-visuel), l'idee d'heterogeneite (independance causale) ou bien chercher a dispenser des sensations brutes (film-concert multipiste)
In fictional narrative cinema, soundtrack noises are sounds that are recorded (fixed), then transmitted. They combine with images within the wirlds built by the film. The cooperating viewer gives those sounds meaning, and the aim of this thesis is the semio-cognitivist study of the way he gives them this meaning. The mental operations taking place mostly involve a series of processes already used in everyday direct hearing, and so which are often based on cross-modal checking. But some others are specific of the cinematic appartus : indeed the information taken from the screen data must be organized along several axes : viewing time (the question of synchronicity), on-screen off-screen space parting, and diegetic possible worlds. Three major kinds of mental operations are distinguished here : recognition (chapters 1 & 2), imaginary localisation of the film-suggested sources (chapters 3 & 4), and reading from the viewpoint of the narrative progression (chaper 5). Noises can allow film to emphasize the feeling of homogeneity (vertical causality) as well as the feeling of heterogeneity (causal independence). They can also attempt to provide pure sensations (multi-track concert film)

APA, Harvard, Vancouver, ISO, and other styles

47

Dallaire, Julie. "Pour une narratologie relative : la narratologie à l'épreuve de la science-fiction /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2004. http://theses.uqac.ca.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Shahba, Mohammad. "Elliptical narrative : elements of plot in the new art cinema." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364975.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Morris, Philip James. "Reality and fiction in the films of Julio Medem : meta-narrative practice and the auteur-function." Thesis, Manchester Metropolitan University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442705.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Bortolotto, María Celina DeGuzmán María. "Blushing to be shame and the narration of subjectivity in contemporary U.S.-Caribbean fiction /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1624.

Full text

Abstract:

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: Comparative Literature; Department/School: Comparative Literature.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Narration in the Fiction Film'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles