Relevant bibliographies by topics / Persona (film)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Persona (film)'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Persona (film)"

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Nevin, Barry. "Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)." Nottingham French Studies 59, no. 1 (March 2020): 97–116. http://dx.doi.org/10.3366/nfs.2020.0274.

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This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustration of his authorial signature, looking towards the complex portrayals of women which feature in his most famous French films of the 1930s. Key to this analysis is how Feyder mobilizes mirrors to confront spectators with their own collusion in the construction of Greta Garbo's star persona in her films and portraits, and to open broader debates regarding the intersection between authorship and star personae.
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Marshall, David, Glenn D'Cruz, and Sharyn Mcdonald. "“Un Geste Suffit”? Unpacking the Inconvenient Truths about Al Gore’s Celebrity Activism." Persona Studies 4, no. 2 (November 5, 2018): 62–82. http://dx.doi.org/10.21153/psj2018vol4no2art757.

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The present work interrogates Al Gore’s persona as a climate change activist with reference to a process we describe with the neologism “personafication”: the act of constructing/presenting a public persona in order to cultivate impressions that enable public figures to consolidate authoritative reputations. The formation of such a commanding persona requires the circulation of three forms of symbolic capital: cultural, celebrity, and reputational capital as well as the performance of overtly theatrical strategies calculated to establish an empathetic relationship between performer and audience. In 2006, former Vice President Al Gore released the award-winning documentary, An Inconvenient Truth. This film subsequently functioned as a catalyst for various forms of climate change activism. This paper unpacks the contradictory ideological and cultural work performed by the film with reference to what we describe as un geste suffit; that is, those gestures that merely perform individual agency in order to connect the formulation of personal ethical identity to communal forms of political activism like environmentalism. Through a close reading of the presentation of Gore’s persona in the film itself, and research which tracks the reception and political efficacy of the film, the paper contributes to the growing body of scholarship on the politics of environmental/scientific communication. Finally, we locate our reading of Gore’s film within a contemporary context by making reference to the way An Inconvenient Truth is both resistant to and complicit with the environmental policies of the Trump administration.
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Viser, Victor. "Pawns in Their Game: Bob Dylan’s Celebrity Persona in Dont Look Back." Hors dossier 27, no. 1 (September 25, 2017): 121–44. http://dx.doi.org/10.7202/1041111ar.

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Documentary film craft in the mid-twentieth century, like many other arts at the time, evolved aesthetically around the notions of “truthfulness” and “honesty” in the depiction of their subjects. Simultaneous with these artistic innovations was the ascendency of a commercial popular culture industry that often appropriated aesthetic ideals of authenticity to construct celebrity narratives. This article examines the constructed celebrity persona of Bob Dylan in D.A. Pennebaker’s American cinéma vérité production Dont Look Back. Utilizing a critical theory approach based on the philosophy and political economy of celebrity aura, it addresses questions of directorial subjectivity, celebrity self-consciousness and the contemporaneous subject/audience interface within a larger discussion of the intentionality of celebrity construction as part and parcel of films and other media dedicated to documenting the rise of pop superstars. While Dont Look Back attempts to reify Dylan as a rebellious voice speaking the social concerns of his audience, the film also testifies to the commodification of such stars by a 1960s corporate media machinery whose ultimate intentions were not necessarily so public-spirited.
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Garvey, Adrian. "‘Steely Velvet’: The Voice of James Mason." Journal of British Cinema and Television 12, no. 1 (January 2015): 83–100. http://dx.doi.org/10.3366/jbctv.2015.0244.

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This article argues that, although the subject of film sound is a developing field of interest in film studies, the voice, despite its centrality to issues of performance and stardom, remains an under-examined subject within the discipline. It considers some existing work on the topic and proposed methodologies for the analysis of voice and performance. The work of James Mason is used as a case study, offering an overview of his career and a discussion of the changes in his star persona and performance style as he moved from star to character actor. Consideration is given to the ways in which Mason's distinctive voice became the defining aspect of his star persona and a subject for impersonation. Critical responses to his vocal style throughout his career are examined and sequences from three Mason films, The Pumpkin Eater (1964), Fanny by Gaslight (1944) and The Upturned Glass (1947) are analysed in order to explore Mason's use of voice and gesture in detail.
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Barzegar, Ebrahim. "Mulholland Drive: An Intertextual Reading." CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 62–78. http://dx.doi.org/10.5195/cinej.2014.114.

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This article examines David Lynch’s Mulholland Drive from Kristeva’s concept of intertextuality. To achieve this aim, this study provides a close reading of the selected film so as to trace and illustrate the polyphonic network of references, citations, quotations and intertexts of Mulholland Drive to the significant already-made films such as Sunset Boulevard, The Wizard of Oz, and Persona.
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Fahrunisa, Nida, and Asep Purwo Yudi Utomo. "DEIKSIS PERSONA DALAM FILM DUA GARIS BIRU KARYA GINA S. NOER PRODUKSI STARVISION DAN WAHANA KREATOR." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 21, no. 2 (July 31, 2020): 103. http://dx.doi.org/10.19184/semiotika.v21i2.19763.

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Person deixis can be found in various speeches, both located in everyday speech and dialogue between characters in a film, including Dua Garis Biru. This study aims to classify and analyze the kinds of person deixis and their functions in the movie Dua Garis Biru. This study used descriptive qualitative method. The data analysis in this study used a pragmatic approach. They are collecting data using the observation method with note-taking techniques. The results showed that the types of personal deixis used in the film Dua Garis Biru are single and plural form. They are singular and plural first person deixis, singular and plural second-person deixis, and third single and plural third person deixis. Each type of person deixis has a different function according to its context and reference. The singular first-person deixis is saya, aku (English: I/me),gue and gua (English:I/me in informal style),-ku (English: my). The first person deixis in the plural is kita and kami (English: we/us). The single second person deixis used in the film Dua Garis Biru is kamu (English: you), -mu (English: your), loe and lu (English: you), while the second person plural deixis is kalian (English: you). The third person deixis consists of singular third-person deixis, namely he/her or his/her, and the plural third-person deixis, namely they/their/them and everybody. The use of deixis is influenced by familiarity, age, social status, and speech situation.
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Dimas, Anisa, and Yazid Rivai. "Analisis Deiksis dalam Film “Yowis Ben 2” Karya Bayu Skak dan Fajar Nugros: Sebuah Kajian Pragmatik (An Analysis of Deixis in “Yowis Ben 2” Film Bayu Skak and Fajar Nugros: a Pragmatics Study)." JALABAHASA 16, no. 2 (November 30, 2020): 132. http://dx.doi.org/10.36567/jalabahasa.v16i2.587.

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Film “Yowis Ben 2” merupakan salah satu film komedi Indonesia yang memasukkan unsur bahasa daerah di dalam percakapannya. Hal tersebut menjadi nilai lebih untuk meninggikan bahasa daerah di lingkungan masyarakat. Penelitian ini berbentuk penelitian deskriptif kualitatif dengan pendekatan pragmatik, yaitu analisis deiksis. Tujuan penelitian ini adalah mendeskripsikan bentuk-bentuk deiksis dalam film “Yowis Ben 2” karya Bayu Skak dan Fajar Nugros. Sumber data penelitian ini adalah percakapan yang terdapat di dalam film tersebut. Berdasarkan penelitian, film “Yowis Ben 2” memuat bahasa daerah yang merujuk pada suatu kegiatan yang sedang dibicarakan serta memiliki hubungan dengan dimensi ruang dan waktu pada saat dituturkan oleh pembicara atau yang diajak bicara. Deiksis berfungsi untuk memperjelas isi ujaran dalam film “Yowis Ben 2” karya Bayu Skak dan Fajar Nugros. Hasil penelitian menunjukkan adanya ujaran deiksis persona, waktu, tempat, sosial, dan wacana. “Yowis Ben 2” is an Indonesian comedy movie that includes elements of local language in the conversation. This elements of local language becomes more value to elevate regional languages in the community environment. This research is in the form of a descriptive qualitative research with a pragmatic approach, namely deixis analysis. The purpose of this study is to describe deixis in the movie “Yowis Ben 2” by Fajar Nugros and Bayu Skak. The data source of this research is the conversations contained in the movie. Based on research, the “Yowis Ben 2” movie contains local languages that refer to an activity being discussed and has a relationship with the dimensions of space and time when spoken by the speaker or the person being spoken to. Deixis functions to clarify the contents in utterances that contain persona, time, place, discourse, and social.
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Viahapsari, Evi, and Aseptiana Parmawati. "ANALYSIS THE TYPE OF DEIXIS IN THE MAIN CHARACTER ON THE MOVIE I LEAVE MY HEART IN LEBANON." PROJECT (Professional Journal of English Education) 3, no. 3 (May 23, 2020): 388. http://dx.doi.org/10.22460/project.v3i3.p388-394.

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This study aimed to describe the type of deixis on the main character in the film titled I Leave My Heart in Lebanon. This research is descriptive qualitative research.The data of this research was collected by analysis of the use of language spoken by the main character in the film I Leave My Heart in Lebanon, with the stages: 1) Organizing the data by collects of all the data in the movie that contains of deixis. 2) Categorizing the data into the types based on levinson theory who classified deixis into deixis persona, spatial, temporal, discourse, and social. 3) Analyzing the data which containing five types of deixis. 4) Present the sample of the data that related to the study, the researcher will present the result of the research some of each category. All of the sources taken on the Film I Leave My Heart in Lebanon. Based on data analysis, the researcher found 125 data that indicates the type of deixis. including personal, temporal, spatial, social, and discourse deixis. The deixis in this film are dominated by personal deixis with 102 data.
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Wahl, Alexander. "The global metastereotyping of Hollywood ‘dudes’." Pragmatics and Society 1, no. 2 (November 17, 2010): 209–33. http://dx.doi.org/10.1075/ps.1.2.02wah.

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This study investigates the phenomenon of metastereotyping — that is, the linguistic parody of stereotypic mediatized personas. The analysis draws on data from the 2008 reality television program Big Brother Africa 3, in which contestants ironically perform the lead characters from a 1989 Hollywood teen comedy film who exemplify a highly mediatized California male slacker youth stereotype, the ‘dude’ persona. By examining the linguistic and embodied features deployed by the reality show contestants in their stylization of the film characters, the article shows how metastereotyping involves forms both from within the original representation and beyond. The use by these African contestants of features with such varied semiotic trajectories reveals their globalized ideologies about California and American youth styles as well as their understanding of the film characters’ positions within these styles.
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Prayogi, Icuk. "PERGESERAN PEMAKAIAN PRONOMINA PERSONA DALAM BAHASA INDONESIA “GAUL”." Ranah: Jurnal Kajian Bahasa 2, no. 2 (December 1, 2013): 38. http://dx.doi.org/10.26499/rnh.v2i2.234.

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Berbicara ragam gaul bahasa Indonesia sekarang ini pastilah pikiran tertuju pada “bahasa” Alay. Jauh sebelum itu, sebenarnya ragam gaul telah ada. Hanya, Alay yang sekarang muncul adalah perubahan dari ragam gaul pada zaman dulu. Karena beberapa hal, bentuk dan aturan pemakaian ragam ini dimungkinkan berubah. Pemakaian pronomina persona juga dimungkinkan mengalami atau pergeseran (shift). Pronomina persona kau atau saya, misalnya, akan sungguh terasa janggal bila diucapkan remaja zaman sekarang dalam konteks percakapan normal dengan remaja lain di Jakarta. Oleh karena itu, makalah sederhana ini membahas tentang pronomina persona apa saja yang mengalami pergeseran serta bagaimana pergeseran pemakaian pronomina persona dalam bahasa Indonesia “gaul”. Dengan metode kualitatif dan data dari berbagai sumber (terutama film), diharapkan menghasilkan gambaran yang cukup tentang pergeseran ini serta mengapa hal ini sampai terjadi.
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Dissertations / Theses on the topic "Persona (film)"

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Britt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /." Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.
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Landström, Petra. "Ingmar Bergman och musiken : En audiovisuell analys av Såsom i en spegel, Tystnaden, Persona och Vargtimmen." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6992.

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The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected – his use of music. Music always played a huge part in Bergman’s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments. Moreover, music frequently played a thematic part in the plot. The purpose of this essay is to examine what function music actually has in a selection of Bergman’s films. To do this I have closely analyzed sequences in which music is performed in four different films from the sixties; Through a Glass Darkly (1961), The Silence (1963), Persona (1966) and Hour of the Wolf (1968). The basis of the discussion lies in the film sound research, mainly that of Claudia Gorbman and Royal S. Brown. The conclusion of this analysis is that Bergman’s use of music is quite extraordinary, particularly in creating a certain feeling of time and space differentiated from the rest of the story. The music has an apparent intrinsic value of its own, and consequently, it is a narrative instrument in itself.
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Sobral, Luís Felipe Bueno 1980. "Bogart duplo de Bogart = pistas da persona cinematográfica de Humphrey Bogart, 1941-46." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282020.

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Orientador: Heloisa Andre Pontes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-15T23:06:51Z (GMT). No. of bitstreams: 1 Sobral_LuisFelipeBueno_M.pdf: 2583169 bytes, checksum: b202082b75528544c470fe263c30c39d (MD5) Previous issue date: 2010
Resumo: As páginas seguintes consistem em uma etnografia histórica do olhar hollywoodiano. Em particular, descreve a sedimentação da persona cinematográfica de Humphrey Bogart (1899-1957) na primeira metade da década de 1940. O foco analítico é duplo: por um lado, está atento às relações de gênero inscritas em suas performances; por outro, procura relacionar sua trajetória social e a estrutura de produção industrial de Hollywood. Uma descontinuidade interpõe-se entre a interpretação do artista diante da câmera e sua imagem projetada na tela: o trabalho de vários outros profissionais (roteirista, técnico de som, editor etc.) completa o processo até o lançamento do filme, quando é avaliado por público e crítica. No cinema, a performance artística submete-se à câmera, que executa a mediação de todo o processo; ao aparato técnico corresponde a persona cinematográfica, que não se resume nem ao intérprete nem aos seus personagens: ao mesmo tempo em que une estes - delineando um modelo de gênero -, também proporciona àquele o estabelecimento social na estrutura de produção. O caso de Bogart oferece um recorte circunscrito porque sua persona emergiu de forma linear em meia década (após anos de investimento), quando Hollywood se organizava em um modo de produção denominado sistema de estúdios, no qual cada estúdio desenvolvia um estilo próprio e controlava toda a produção industrial de um filme, do roteiro à exibição - e, portanto, a autonomia relativa do artista era estreitíssima. Através de uma série de pistas oriundas de fontes diversas (filmes, literatura, biografias, historiografia), esta dissertação argumenta que experiência social e cultura visual são inseparáveis, defende que a persona de Bogart (símbolo canônico de masculinidade) alimentava-se da tensão dramática entre a indiferença aparente e a vulnerabilidade súbita, e, finalmente, demonstra que a relação entre Bogart e sua persona caracterizava-se pela alteridade
Abstract: The following pages consist in a historical ethnography of the Hollywood eye. In particular, it describes the sedimentation of the screen persona of Humphrey Bogart (1899- 1957) in the first half of the 1940s. The analytical focus is twofold: on the one hand, pays attention to the gender relations inscribed in his performances; on the other, seeks to relate his social trajectory and Hollywood's industrial structure of production. A discontinuity goes between an artist's interpretation in front of the camera and his/her correspondent projected image on the screen: the work of numerous other professionals (screenwriter, sound technician, editor etc.) completes the process until the film release, when it is evaluated by public and critic. In cinema, the artistic performance is submited to the camera, that executes the mediation of the entire process; to the technical apparatus corresponds the screen persona, that does not resume itself to the interpreter nor his/her characters: at the same time that unites these - outlining a model of gender - it also supplies to the former the social setting in the structure of production. The Bogart case offers a circumscribed picture because his persona emerged in a linear form in half a decade (after years of investment), when Hollywood organized itself through a mode of production called studio system, where each studio developed its own style and controlled the entire industrial production of a film, from screenplay to exhibition - and therefore the relative autonomy of the artist was very narrow. Through a series of clues collected from various sources (films, literature, biographies, historiography), this dissertation argues that social experience and visual culture are inseparable, defends that Bogart's persona (a canonical symbol of masculinity) was nourished by the dramatic tension between the apparent indifference and the sudden vulnerability, and finally demonstrates that the relation between Bogart and his persona was characterized by otherness
Mestrado
Antropologia Social
Mestre em Antropologia Social
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Williams, Derek JG. "Pavlov's Dog." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618987375859709.

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Cabart, Anaïs. "Cinéma analytique et transfert : l’expérience spectatorielle dans "Persona" et "L’Heure du loup" de Bergman et "Antichrist", "Melancholia" et "Nymphomaniac" de Von Trier." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30039/document.

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Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéal
The simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator
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Sandeau, Jules. "The Unsinkable Kate : l'évolution de la persona de Katharine Hepburn et sa réception aux Etats-Unis." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30048.

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Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa persona
Acknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona
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Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.

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Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
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Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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Balso, André. "Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC008/document.

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Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiques
Robert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema
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Steil, Diana Dorothea. "Personal Choice." Digital Commons at Loyola Marymount University and Loyola Law School, 1986. https://digitalcommons.lmu.edu/etd/663.

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Books on the topic "Persona (film)"

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Film and the interpretive process: A study of Blow-Up, Rashomon, Citizen Kane, 8 1/2, Vertigo, and Persona. New York: P. Lang, 1989.

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Zeldin, Richard P. Personal forms on file. [New York, NY]: Facts on File, 2001.

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Personal visions: Conversations with independent film-makers. London: Constable, 1999.

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Personal visions: Conversations with contemporary film directors. Los Angeles: Silman-James Press, 2000.

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Clarke, Katherine. The deception of the films 'Persona'. [Derby]: Derbyshire College of Higher Education, 1988.

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The multi-protagonist film. New York: Wiley-Blackwell, 2010.

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Ash, Timothy Garton. The file: A personal history. Hammersmith, London: HarperCollinsPublishers, 1997.

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Ash, Timothy Garton. The file: A personal history. New York, USA: HarperCollins, 1997.

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Fieldhouse, Richard. Personal Oracle8 Explorer. Albany, NY: Coriolis Group Books, 1998.

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Film noir: A comprehensive, illustrated reference to movies, terms, and persons. Jefferson, N.C: McFarland, 1995.

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Book chapters on the topic "Persona (film)"

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Sharpe, Kenan Behzat. "Women Remembering: Gender and Genre in Persona and Happy Valley." In Female Agencies and Subjectivities in Film and Television, 209–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56100-0_12.

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Lau, Dorothy Wai Sim. "Conclusion: Reconsidering Chinese Film Stars—Toward a Polyphonic Networked Persona." In Reorienting Chinese Stars in Global Polyphonic Networks, 201–8. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0313-6_10.

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Lebow, Alisa. "First Person Political." In The Documentary Film Book, 257–65. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_29.

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Hubner, Laura. "Persona: Cinema as Mask." In The Films of Ingmar Bergman, 70–91. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801387_5.

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Verevis, Constantine. "A Personal Matter: H Story." In Film Remakes, Adaptations and Fan Productions, 159–75. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137263353_9.

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"PERSONA: THE PERSON AS A MASK." In Philosophy of the Film, 324–45. Routledge, 2003. http://dx.doi.org/10.4324/9780203221952-26.

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"“Brando Sings!”: The Invincible Star Persona." In Theorizing Film Acting, 86–99. Routledge, 2012. http://dx.doi.org/10.4324/9780203123218-12.

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Henderson, Lisa. "Directorial Intention and Persona in Film School." In On the Margins of Art Worlds, 149–66. Routledge, 2019. http://dx.doi.org/10.4324/9780429300615-7.

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Coates, Jennifer. "Post-war Stars and the Japanese Studio System." In Making Icons. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888208999.003.0002.

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Chapter 1 describes the structure of the post-war Japanese studio and star systems. The concept of star persona is introduced, blending the work of film theorist Richard Dyer with contemporary Japanese magazine and newspaper accounts of individual stars. The media construction of the personae of popular post-war stars are explored as a means to understand how wartime and pre-war conduct and activities could be sutured into a post-war public persona compliant with the demands of the occupation censors. The Tōhō studio strikes (1946-1948) are explored as historical background for the positioning of film stars as larger than life ‘every persons.’ Case studies include the star personae of Hara Setsuko, Misora Hibari, and Yamaguchi Yoshiko.
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Mira, Alberto. "Becoming Mario: performance and persona adaptation in Mario Casas’s career." In Performance and Spanish Film. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719097720.003.0012.

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This chapter looks at the body of work of one of Spain’s most ubiquitous young stars. Analysing Mario Casas’s on-and offscreen performances of masculinity and the role that his star persona plays in his filmography, it argues that the actor’s career has revolved around his carefully sculpted physique and behaviour—and that Casas is indicative of a new generation of young male stars in Spain. As ‘The Great Hope of Spanish Cinema’, Casas comes to represent a shift in public perceptions of manhood and is evocative of a new type of manufactured, cinematic masculinity. With ties to the work of Susan Bordo and Richard Dyer, this chapter underscores the importance of physicality to Casas’s performance of masculinity, as made evident in his iconic roles in films such as Tres metros sobre el cielo/Three Steps Above Heaven (Fernando González Molina, 2010) and Tengo ganas de ti/I Want You (Fernando González Molina, 2012).
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Conference papers on the topic "Persona (film)"

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Spillner, Josef, Sebastian Tilsch, and Alexander Schill. "NubiVis: A Personal Cloud File Explorer." In 11th International Conference on Mobile and Ubiquitous Systems: Computing, Networking and Services. ICST, 2014. http://dx.doi.org/10.4108/icst.mobiquitous.2014.258064.

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Tanaka, Saburo, Makoto Takiishi, Koji Miyazaki, and Hiroshi Tsukamoto. "Measurements of Thermal Conductivity of Thin Films by 3-Omega Method." In ASME 2008 First International Conference on Micro/Nanoscale Heat Transfer. ASMEDC, 2008. http://dx.doi.org/10.1115/mnht2008-52260.

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In this study, the thermal conductivity of a bismuth-telluride (Bi2Te3) thin film is measured at room temperature by using the 3ω method [1, 2]. The 3ω method for thin films uses a single metal-line as both the heater and thermometer. An alternating-current driving current at angular frequency ω heats the surface of the sample at a frequency of 2ω. Since the resistance of a metal increases with temperature, temperature oscillations produce an oscillation of the electrical resistance at a frequency of 2ω. Consequently, the voltage drop across the metal line has a small component at 3ω that can be used to measure the temperature oscillations and the thermal response of the sample with a Bismuth-telluride thin film. Differential amplifiers are used to subtract the ω component of the voltage for the measurement of the small 3ω signal as shown in Fig.1. The amplified 3ω component and the attenuated reference voltage are acquired to a personal computer through a 16bit DAC card. The bismuth-telluride thin films are manufactured by flash evaporation and coating. The narrow Aluminum lines for the 3ω method are made by vacuum deposition through metal masks. The measured temperature oscillation ΔT versus ln(ω) yields the thermal conductivity of the substrates. The thermal conductivity of the glass is measured as 0.97 W/(m·K), and that of alumina is 15.4 W/(m·K). These results agree well with the reference data. The thermal conductivities of Bismuth-telluride thin films are calculated from the measured thermal resistances of the films. The measured value for a flash evaporated Bismuth-telluride is 1.20 W/(m·K), and the coated film is 0.51 W/(m·K).
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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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Dinneen, Jesse David, Charles-Antoine Julien, and Ilja Frissen. "The Scale and Structure of Personal File Collections." In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290605.3300557.

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Gallego De Dios, Mª Teresa, Berta Bote Bonaechea, Pilar Andrés Olivera, Mª Teresa Lozano López, Sintá Gamonal Limcaoco, and Lorena Carrascal Laso. "“Consideraciones relacionadas con el consumo de alcohol en personas con Discapacidad Leve y Funcionamiento Intelectual Límite”." In 22° Congreso de la Sociedad Española de Patología Dual (SEPD) 2020. SEPD, 2020. http://dx.doi.org/10.17579/sepd2020p080.

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Objetivos: El consumo de sustancias, especialmente el consumo de alcohol, es relativamente común en personas con Discapacidad intelectual leve (DIL) y Funcionamiento Intelectual límite (FIL) (DIL-FIL), con un mayor riesgo de desarrollar trastornos de consumo de sustancias (TUS) en comparación con personas sin DI. Se quería conocer las últimas investigaciones referidas al consumo de alcohol en estas personas publicadas en los últimos tres años. Métodos: Revisión bibliográfica en base MEDLINE utilizando las palabras clave: “Mild intelectual disability”, “Borderline intelectual functioning” and “Alcohol use” Resultados: Esmée P. y cols (2019) estudiaron la relación entre el uso de sustancias y sus motivos para el mismo en 106 participantes de centros residenciales de los Países Bajos con DIL-FIL y problemas de comportamiento, demostrando que, en cuanto al consumo de alcohol, los motivos sociales estaban positivamente relacionados con la frecuencia del consumo. Los motivos de afrontamiento y mejora estaban positivamente relacionados con la gravedad del consumo, así como los motivos de conformidad. Examinado el papel de las dimensiones de la personalidad en el uso de sustancias en personas con DIL-FIL, destaca un consumo de alcohol más severo en las personas con niveles más bajos de sensibilidad a la ansiedad, mayores niveles de pensamiento negativo, impulsividad y búsqueda de sensaciones. (Poelen EA. y cols, 2017). El consumo problemático de alcohol se asocia con consecuencias neuropsicológicas incluyendo sesgos cognitivos (Van Dujinenbode N. y cols 2017,2018) La capacidad de memoria de trabajo y el control inhibitorio se vieron afectados entre las personas con DIL-FIL, independiente de la gravedad de los problemas relacionados con el consumo de alcohol. Conclusiones Es importante incluir motivos en intervenciones personalizadas para personas con DIL-FIL. Las dimensiones de la personalidad podrían ser útiles para el desarrollo de intervenciones selectivas de consumo de sustancias para personas con DIL-FIL.
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Stannard, Casey R., and Jeremy M. Bernardoni. "The Influence of Film Personae on the Enculturation of Masculine Identity Performance." In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.12091.

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Shum, Michael, Stephan Zheng, Wojciech Kryscinski, Caiming Xiong, and Richard Socher. "Sketch-Fill-A-R: A Persona-Grounded Chit-Chat Generation Framework." In Proceedings of the 2nd Workshop on Natural Language Processing for Conversational AI. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.nlp4convai-1.14.

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FILIPPOVA, IRINA. "ABOUT TYPOLOGY OF INTERSEMIOTIC TRANSFORMATIONS." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.36.

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We present the author's typology of intersemiotic transformations during the intralinguistic film adaptation of literature adaptation of a work of literature empirically based on the play by M. A. Bulgakov "Ivan Vasilievich" and the film "Ivan Vasilievich changes his profession." Comparative analysis reveals the transformation of various components of the content (realities, external and personal characteristics of characters, genre features) and various degrees (transformation and deformation).
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Upra, Ravi, and Roungsan Chaisricharoen. "Workgroup Distribution File System (WDFS) for personal cloud system." In 2014 4th Joint International Conference on Information and Communication Technology, Electronic and Electrical Engineering (JICTEE). IEEE, 2014. http://dx.doi.org/10.1109/jictee.2014.6804091.

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Perry, R., and A. Greenberg. "An Undersea Features Names File for the Personal Computer." In OCEANS '86. IEEE, 1986. http://dx.doi.org/10.1109/oceans.1986.1160477.

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Reports on the topic "Persona (film)"

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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León, Carlos. The dawn of a mobile payment scheme: The case of Movii. Banco de la República, March 2021. http://dx.doi.org/10.32468/be.1157.

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Mobile wallets replicate physical wallets on a mobile device, in which users can store different payment instruments (e.g., cards, transfers) to make mobile payments. As the mobile wallet is adopted, a mobile payment scheme emerges, with its users as elements in a network of transfers. In this article, I study the mobile payment scheme of Movii— the first fintech firm in Colombia operating under a financial non-banking license for electronic deposits and payments. Based on a unique dataset of bilateral transfers between Movii’s mobile wallet users, I build, visualize and analyze Movii’s network, daily from November 18, 2017, to November 25, 2020. Besides the anticipated increase in the number of users and the value of transfers, the visual and quantitative complexity of the network of transfers increases over time. This increase in complexity is likely to be linked to the adoption of Movii’s mobile wallet, which results in users finding new ways to use mobile payments beyond person-to-person transfers, including person-to-business and business-to-business. Also, results suggest the Covid-19 pandemic accelerated the evolution of Movii’s mobile payments scheme.
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Arbeit, Caren A., Alexander Bentz, Emily Forrest Cataldi, and Herschel Sanders. Alternative and Independent: The universe of technology-related “bootcamps". RTI Press, February 2019. http://dx.doi.org/10.3768/rtipress.2019.rr.0033.1902.

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In recent years, nontraditional workforce training programs have proliferated inside and outside of traditional postsecondary institutions. A subset of these programs, bootcamps, advertise high job placement rates and have been hailed by policymakers as key to training skilled workers. However, few formal data exist on the number, types, prices, location, or other descriptive details of program offerings. We fill this void by studying the universe of bootcamp programs offered as of June 30, 2017. In this report, we discuss the attributes of the 1,010 technology-related programs offered in the United States, Canada, and online. We find more diversity among bootcamp providers and programs than would be expected from public discourse. This primarily relates to the mode of delivery (online vs. in person), intensity (part time/full time), cost, and program types. Based on the data we collected, we present a classification structure for bootcamps focused on five distinct program types.
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Latané, Annah, Jean-Michel Voisard, and Alice Olive Brower. Senegal Farmer Networks Respond to COVID-19. RTI Press, June 2021. http://dx.doi.org/10.3768/rtipress.2021.rr.0045.2106.

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This study leveraged existing data infrastructure and relationships from the Feed the Future Senegal Naatal Mbay (“flourishing agriculture”) project, funded by the US Agency for International Development (USAID) and implemented by RTI International from 2015 to 2019. The research informed and empowered farmer organizations to track and respond to rural households in 2020 as they faced the COVID-19 pandemic. Farmer organizations, with support from RTI and local ICT firm STATINFO, administered a survey to a sample of 800 agricultural households that are members of four former Naatal Mbay–supported farmer organizations in two rounds in August and October 2020. Focus group discussions were conducted with network leadership pre- and post–data collection to contextualize the experience of the COVID-19 shock and to validate findings. The results showed that farmers were already reacting to the effects of low rainfall during the 2019 growing season and that COVID-19 compounded the shock through disrupted communications and interregional travel bans, creating food shortages and pressure to divert seed stocks for food. Food insecurity effects, measured through the Household Food Insecurity Access Scale and cereals stocks, were found to be greater for households in the Casamance region than in the Kaolack and Kaffrine regions. The findings also indicate that farmer networks deployed a coordinated response comprising food aid and access to personal protective equipment, distribution of short-cycle legumes and grains (e.g., cowpea, maize) and vegetable seeds, protection measures for cereals seeds, and financial innovations with banks. However, food stocks were expected to recover as harvesting began in October 2020, and the networks were planning to accelerate seed multiplication, diversify crops beyond cereals, improve communication across the network. and mainstream access to financial instruments in the 2021 growing season. The research indicated that the previous USAID-funded project had likely contributed to the networks’ COVID-19 resilience capacities by building social capital and fostering the new use of tools and technologies over the years it operated.
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