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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 PontesDissertação (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 idéalThe 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 personaAcknowledging 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 classiquesRobert 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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Fernandes, Helmut Paulus Kleinsorgen Paes Ferreira. "Etnografias de si: a emergência dos filmes pessoais." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1026.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorAo enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador.
Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film
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Mikhail, Samia, and fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.
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This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
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Larsson, Fredrik, and Filip Hallengren. "Andrapersonsvy i film." Thesis, Blekinge Tekniska Högskola, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14562.
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I denna undersökning har vi utforskat hur andrapersonsvy kan definieras och appliceras i film. Eftersom att definitionen för andrapersonsvy inte är etablerad, utgår vi ifrån spelindustrins definitioner av första- och tredjepersonsvy för att bilda en teori för hur det kan definieras. Denna utgångspunkt jämförs och förhålls mot användande av termerna första-, andra- och tredjeperson i grammatik, litteratur, narrativ och filosofi. Med hjälp av undersökningsmetoden grundad teori, Donna J. Haraways teknovetenskapliga begrepp situerad kunskap och diffraktion, Karen Barads diskussion om diffraktion, samt Michael Pauens diskussion om intersubjektivitet, resonerar vi för hur andrapersonsvy kan definieras och appliceras. Vi bildar en teori för hur andrapersonsvy kan definieras: Andrapesonsvyn är positionerad i ögonen hos personen som är delaktig i interaktionen/situationen med förstapersonen. Teorin anpassas därefter för applicerande i film: Andrapersonsvy positionerar kameran i ögonen hos den person som protagonisten interagerar med. Utifrån teorin har vi skapat filmer med andrapersonsvy, och prövat andrapersonsvy i verkligheten. Vi har då sett hur andrapersonsvy påverkar och diffrakterar filmmediet, genom att ge en ny vy in i mediet. Med denna undersökning finns mycket som kan utvecklas och förbättras med definitionen av andrapersonsvy, samt hur det kan appliceras.In this research we have explored how second-person view can be defined and applied in film. Since there is no established definition for second-person view, we originate from the gaming industry’s definitions of first- and third-person view to form a theory on how it can be defined. This origin is compared and relativized to the use of the terms first-, second- and third-person in grammar, literature, narrative and philosophy. With the use of the research methodology grounded theory, Donna J. Haraway’s technoscientific concept situated knowledges and diffraction, Karen Barad’s discussion on diffraction, and Michael Pauen’s diskussion on intersubjectivity, we argue for how second-person view can be defined and applied. We form a theory on how second-person view can be defined: Second-person view is positioned in the eyes of the person involved in the interaction/situation with the first-person. The theory is then adapted to be applied in film: Second-person view positions the camera in the eyes of the person that the protagonist is interacting with. From this theory we have made films with second-person view, and tested second-person view in reality. We then have seen how second-person view effects and diffracts the film medium, by giving a new view into the medium. From this research, there is much that can be evolved and improved with the definition of second-person view, and how it can be applied.
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Mourão, Catarina. "The Wolf's Lair : dreams and fragmented memories in a first-person essay film." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25710.
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This PhD by practice is an attempt to understand personal archives through filmmaking, and the kind of knowledge we can extract from them as well as how we can connect them to a wider social and political context. These questions are the core of my research and are explored in their different ways through both the film/practice and dissertation. I have chosen to make a film about my absent grandfather and his lost relationship with my mother during Fascist Portugal between the 1940s and the 1960s. Family archives have been largely used in films as a way of documenting realities, in the same way as any other public archival footage. In this instance, I tried to explore family and official archives acknowledging their contradictions and omissions with a view to finding a new “way of knowing” that is more closely connected to our emotions. I believe we all own a family archive regardless of its form. I named this archive “the subjective archive” and in it, I include physical archives such as paper documents, photographs and films, as well as a more intangible archive, which includes our memories, the stories we tell and listen to (oral history) and our dreams. The progression of the film is closely related to my journey as I become immersed in the story and learn things through many layers of archive documents. As a conclusion, I argue that these invisible elements of the subjective archive contain truth independent of their indexical nature, whereas physical documents can mislead us.
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Hopson, Samuel D. "Fathers and Sons: A Journey in Creating a Personal Work of Cinematic Art." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2085.
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This document gives an account of my artistic efforts in creating my thesis film Fathers and Sons. This document includes sections that cover the writing, casting, production design, principal photography, and editing of my film. I give special attention to the writing process in Chapter 2, because of its personal significance to my growth as a filmmaker. This chapter details the evolution of my original story concept from a drama to a comedy. The ultimate goal of my film was to create a personal work of art. This document self-reflects on how well I was able to achieve this goal, and what I learned along the way.
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Fitchett, Stephen. "Understanding and Improving Personal File Retrieval." Thesis, University of Canterbury. Department of Computer Science and Software Engineering, 2013. http://hdl.handle.net/10092/8968.
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Personal file retrieval – the task of locating and opening files on a computer – is a common task for all computer users. A range of interfaces are available to assist users in retrieving files, such as navigation within a file browser, search interfaces and recent items lists. This thesis examines two broad goals in file retrieval: understanding current file retrieval behaviour, and improving file retrieval by designing improved user interfaces.
A thorough understanding of current file retrieval behaviour is important to the design of any improved retrieval tools, however there has been surprisingly little research about the ways in which users interact with common file retrieval tools. To address this, this thesis describes a longitudinal field study that logs participants' file retrieval behaviour across a range of methods, using a specially developed logging tool called FileMonitor. Results confirm findings from previous research that search is used as a method of last resort, while providing new results characterising file retrieval. These include analyses of revisitation behaviour, file browser window reuse, and interactions between retrieval methods, as well as detailed characterisations of the use of navigation and search.
Knowledge gained from this study assists in the design of three improvements to file navigation: Icon Highlights, Search Directed Navigation and Hover Menus. Icon Highlights highlight items that are considered the most likely to be accessed next. These highlights are determined using a new algorithm, AccessRank, which is designed to produce a set of results that is both accurate and stable over time. Search Directed Navigation highlights items that match, or contain items that match, a filename search query, allowing users to rehearse the mechanisms for expert performance in order to aid future retrievals, and providing greater context than the results of a traditional search interface. Hover Menus appear when hovering the mouse cursor above a folder, and provide shortcuts to highly ranked files and folders located at any depth within the folder. This allows users to reduce navigation times by skipping levels of the file hierarchy.
These interfaces are evaluated in lab and field studies, allowing for both precise analysis of their relative strengths and weaknesses, while also providing a high degree of external validity. Results of the lab study show that all three techniques reduce retrieval times and are subjectively preferred by participants. For the field study, fully functional versions of Icon Highlights and Search Directed Navigation are implemented as part of Finder Highlights, a plugin to OS X's file manager. Results indicate that Icon Highlights significantly reduce file retrieval times, and that Search Directed Navigation was useful to those who used it, but faces barriers to adoption.
Key contributions of this thesis include a review of previous literature on file management, a thorough characterisation of file retrieval behaviour, improved algorithms for predicting user behaviour and three improved interfaces for file retrieval. This research has the potential to improve a tedious activity that users perform many times a day, while also providing generalisable algorithms and interface concepts that are applicable to a wide range of interfaces beyond file management.
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Jafari, Jasmine. "The Persian Art of Denial." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/501.
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GATTI, CHIARA. "LA PERSONA UMANA IN UNA SOCIETA' PLURALE. ANALISI CRITICA DEL PENSIERO DI H.T. ENGELHARDT JR." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10370.
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Il presente lavoro approfondisce il pensiero di H.T. Engelhardt Jr. dal momento che la sua produzione permette di soffermarsi sul concetto di persona umana, concetto chiave per dirimere le questioni bioetiche che emergono nella società contemporanea caratterizzata da un intrinseco pluralismo. Dopo aver fornito un quadro dei caratteri della società postmoderna e della lettura che ne dà Engelhardt, sono stati analizzati i punti fondamentali del suo pensiero volto a sostenere una morale di tipo minimale e procedurale. Di contro alla sua impostazione, una corretta semantizzazione del concetto di persona umana risulta fondamentale per garantire la tutela di ogni essere umano rispetto alle questioni che sorgono intorno all’inizio e alla fine della vita e per riaffermare il potere della ragione umana di comprendere a fondo la realtà e di fornire una morale di tipo sostanziale. L’analisi infine della produzione di Engelhardt che scaturisce da un approccio fideistico alla fede cristiana è illuminante poi per avere un quadro completo del suo pensiero e per comprendere a fondo le radici della sfiducia che egli ripone nella ragione.This dissertation explores the thought of H.T. Engelhardt Jr. since its production can dwell on the concept of human person, the key concept for resolving bioethical issues that arise in contemporary society characterized by intrinsic pluralism. After providing an overview of the characteristics of postmodern society and reading that gives Engelhardt, have been analyzed the fundamental points of his thought which supports a type of a minimal and procedural moral. In contrast to his setting, a proper semanticization of the concept of human person is essential to ensure the protection of every human being with respect to issues that arise around the beginning and the end of life and to reaffirm the power of human reason to understand in depth reality and provide a type of substancial moral. Finally the analysis of production of Engelhardt springing from a fideistic approach to the Christian faith is enlightening then to have a complete picture of his thought and to fully understand the roots of mistrust that he puts in reason.
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Tärnskär, Filip, and Helgason Jonatan. ""Film med undertext" : - "En studie om tillgänglighet av film för döva och personer med hörselnedsättning."." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12163.
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Den här uppsatsen utforskar döva och hörselnedsattas upplevelse av film. Syftet är att undersöka möjligheter i hur man kan öka tillgängligheten av film då man inte längre kan förlita sig på ett ljudberättande. Den undersökande delen av uppsatsen består av två delar. Arbetet med kandidaten inleddes med en enkätundersökning där målgruppen, döva och personer med hörselnedsättning, fick beskriva sin upplevelse av film. Den andra delen av undersökningen bestod av att praktiskt testa resultatet av enkätundersökningen i en medieteknisk gestaltning. Genom ödmjukhet, inkludering och undertextning kan vår film bli mer tillgänglig för döva och hörselnedsatta.This bachelor thesis studies the experience of movies for Deaf and hard of hearing. The purpose is to study the possibilities of increasing the accessibility of movies, when you no longer can rely on the narrative audio. The investigative part of the thesis consists of two parts. The first part consists of a survey where the target group, Deaf and hard of hearing where asked to describe their experience of movies. The second part of the investigation consists of a practial test of the survey results in the form of a media conformation. Through being humble and inclusive, and with the use of subtitles we can make our film more accessible to the Deaf and the hard of hearing.
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Pires, Lara Vanessa Casal. "Uma reflexão sobre o filme Persona (1965), de Ingmar Bergman." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11922.
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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Filosofia na área de especialização em EstéticaA presente dissertação tem como objecto de estudo o filme Persona (1965) de Ingmar Bergman e a tese filosófica proposta a partir da análise deste filme é a de que o sonho de ser em vez de parecer faz parte da natureza humana. No filme em estudo, temos dois personagens que procuram dar sentido às suas acções, mas que, confrontados com a impossibilidade de ser, a impossibilidade de não usarem máscaras, a impossibilidade de darem sentido às suas vidas de uma forma que não dependa da criação de mentiras e ilusões, vivem o niilismo. Este estudo centra-se numa discussão sobre a experiência que salva o ser humano do ilusório, ou seja, sonho de ser, a partir das questões propostas por Ingmar Bergman em Persona (1965): O que faço agora? O que é a verdade? Qual a relação da arte com a vida? Através da análise do filme, propõe-se também uma reflexão sobre o artista enquanto criador e sobre a obra de arte como construção de uma “verdade na aparência”. As reflexões filosóficas suscitadas pelo filme e expostas na sua análise são inspiradas no estudo da filosofia de Nietzsche.
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Lazarou, John. "Serial communications between personal computer and Unix." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722455.
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A system is developed which facilitates communication between a Personal Computer and a Mainframe, and can do both directions, and lets the user execute Unix shell commands while the file transfer is in process. This communication system consists of two programs, one named "Thesis.EXE" that runs on a DOS based machine, and one named named "COMMGREEK" that runs on a Unix based machine.Department of Computer Science
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Aldstadt, David. "Imaginary co-signatures: collaboration, authorship, and star personae in films by Marcel Carne with Arletty and by Jean Cocteau with Jean Marais." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371473066.
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Bugno, Jacob R. "Development and implementation of a GafChromic® EBT in-vivo personal dosimetry." Connect to full text in OhioLINK ETD Center, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=mco1222876677.
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Thesis (M.S.)--University of Toledo, 2008."In partial fulfillment of the requirements for the degree of Master of Science in Biomedical Sciences." Title from title page of PDF document. Bibliography: pages 52-55.
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Bugno, Jacob R. "Development and Implementation of a GafChromic EBT In-Vivo Personal Dosimetry System." University of Toledo Health Science Campus / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=mco1222876677.
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Kapler, Desiree Dawn. "below the neck, above the knees." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4831.
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My thesis explores the act of violation in the context of trauma and healing through the use of personal narratives and experimental film. My research allows personal storytelling to transform into a larger and more universal theme of generational trauma and dysfunction. Through a feminist lens, I challenge social norms of body autonomy for the sick and abused, capitalism’s social effects on the poor, and passed down maternal lessons from the women who are doing the best that they can with the lives and opportunities that they have been given.
This work is created in spite of the labels my mother, the women before her, and I may hold. It is an act of resistance to who and what is allowed to be seen or heard. It is my confession, but it is not my confession alone.
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Azabache, Liñan Kiara Francesca Navi. "To film or not to film: la instalación audiovisual inmersiva como herramienta en la construcción del personaje." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://hdl.handle.net/20.500.12404/14010.
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Vermaak, Janelle Leigh, and Subeshini Moodley. "Fans of film franchises - the online alien universe: a study of online participation as a catalyst for fan-created objects that expand the film universe." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13938.
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This thesis will analyse the ways in which fan participation and creation in online communities extends the film world beyond the film object, and the extent to which fandom influences identity within the fan group. The study will seek to determine the ways in which fans become part of the franchise through online engagement, as well as the manner in which they appropriate the franchise identity through their creations. The central hypothesis of the study is that online participation and creation amplifies fan connection with the film franchise, and increases the sense of identification with the world and characters of the films. By being or becoming fans, and engaging with other fans in online and real spaces, they are joining a larger community of people who seem to have blurred the lines between fiction and reality by engaging in a fictional, virtual space as a source of real personal entertainment, based on an anchor media product. This appropriation is enabled through digital communities which expand and extend the reach of fan interaction and further develop the identity of the individual as ‘fan’. Thus, the study will reflect on the implications of fan engagement with the film franchise in the digital space.
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Wager, Samantha Jeanne. "THE VALUE OF A VOICE: EXAMINING PERSONAL EXPRESSION IN CHICANO LITERATURE AND FILM." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/193021.
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Leal, Maira Moraes Cardoso. "A imagem da pessoa comum: sobre os filmes dos pontos de cultura de natal/rn." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13692.
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The following research aims to address the image of the ordinary person in the films of the Pontos de Cultura (Culture Points) in Natal-RN. About ten years the Federal Government of Brazil created the Cultura Viva (Living Culture) program. It enabled the State to support financially civil society organizations that had developed cultural works in communities across the country. Along with the resources the program developed, in parallel, another action, Cultura Digital (Digital culture), intended to bring the tools of digital technology for people who have never had access to them. As a result of these initiatives were produced short films. These films were characterized by the presence of the image of the ordinary person. The creation of this type of cultural product was benefited by state initiative, however, it was inserted within a historical, political and cultural construction whose research was necessary for this image understood to be understood by its importance: it is the expression of emancipation the ordinary person and not just as a consumer of culture, it identifies them as the protagonists of the society and recognizes their vital role in its organization
Este trabalho visou tratar da imagem da pessoa comum nos filmes dos Pontos de Cultura de Natal/RN. A partir de 2003 o Governo Federal do Brasil criou o programa Cultura Viva. Por meio de edital, possibilitou-se que o Estado apoiasse financeiramente organiza??es da sociedade civil que tivessem a??es culturais desenvolvidas em comunidades por todo o pa?s. Juntamente com os recursos, o programa desenvolvia paralelamente outra a??o: a Cultura digital; que pretendia levar novas tecnologias para pessoas que nunca tiveram acesso a elas. Como resultado dessas iniciativas, foram elaborados pequenos filmes. Esses, por sua vez, se caracterizaram pela presen?a da imagem da pessoa comum. A cria??o desse tipo de produto cultural foi beneficiada pela iniciativa dos Pontos de Cultura. Estes se fizeram inseridos dentro de uma conjuntura hist?rica, pol?tica e cultural espec?fica cuja investiga??o se fez necess?ria para que essa imagem pudesse ser entendida pela sua import?ncia: a express?o da emancipa??o da pessoa comum como produtora e n?o apenas consumidora cultural e sua identifica??o como protagonista na organiza??o da sociedade
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Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
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WONG, Nga Man. "Images of older persons in Hong Kong popular films." Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/soc_etd/25.
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Film watching is a popular leisure activity in modern society. Films, as a medium, provide powerful tools to deliver social messages and to create images of particular social groups. The cinematic images portrayed by films toward a particular social group may consequently shape our social perceptions and expectations of that social group. The ways that cinematic images portray older persons are, therefore, a potentially major source for detecting social values and views about them.
As some cinematic images tend to reflect social attitudes and behaviours, the present research aimed at investigating how popular films portray the images of older persons. Focus was on the examination of: 1) the representation of older persons in Hong Kong movies, 2) whether older persons are positively or negatively portrayed in movies, and 3) any changes in the cinematic images of older persons over the last two decades.
The present research examined Hong Kong movies released between 1981 and 2001. The population of the present study is the most popular Hong Kong movies, based on the turnover of the Hong Kong ticket offices. The sampled films were derived from the three highest-turnover movies for each year from 1981 to 2001.
Content analysis was employed in this study to determine the representation and images of older persons in the 63 sampled movies. Generally speaking, older persons were found to be under-represented in the sampled movies relative to their presence in the population. Older persons were portrayed as having white hair, wrinkle skin, and walk independently in terms of physical appearance. Older persons were also portrayed as having generally good health status. However, older persons were portrayed to have a decline in both family status and socio-economic status in the 1990s as compared to that of the 1980s. In terms of occupation, most older persons were portrayed as retired persons in the movies. Apart from these features, the present research also found that there was a gender differences in the portrayal of older persons.
Many older persons were depicted in the movies in the home setting, perhaps reinforcing traditional Asian family values and stereotypes. However, this perhaps underplays older persons’ active roles and contributions in the light of such current concepts as productive and active aging. There is a temporal division in that older persons in many movies of the 1980s were portrayed as more home-based while, in the 1990s, they were becoming more actively involved in external activities.
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AHMAD, RAZI. "NATIONAL SELF AND NARRATIVE OF IDENTITY: CONSTRUCTION OF NATIONALISM IN MODERN PERSIAN LITERATURE AND FILM." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/201496.
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This dissertation looks at the dialectical relationship between Persian literary works representing or alluding to the pre-Islamic legacy and the political conditions of Iran. Through discursive analyses, it shows that these works in new political conditions change the orientation and main thrust of their message, and use or allude to the same pre-Islamic legacy for promoting modernization, criticizing official policies or showing resistance to the ruling establishment. The main thrust of their arguments also subtly indicates the country's future intellectual and political orientation.A transition from the traditional to modern use of antiquity took place during the second half of the nineteenth century, mainly as a result of increased interaction with Europe. Until the fall of the Qajarids, the Persian intellectuals and writers such as Akhundzadah, Dihkhuda used pre-Islamic legacy to support their arguments for modernization. Later, the despotic Pahlavi rulers (1925-79) sought to modernize the country but stifled the democratic evolution of polity and employed the pre-Islamic Persian heritage to strengthen monarchy. Hence, the Persian fiction writers such as Hidayat, Shahani, Danishwar dissociated themselves from official nationalism and used pre-Islamic heritage in non-glorifying ways to criticize the official policies.After the Islamic Revolution in 1979, the new rulers reversed the Pahlavi official policy of glorifying the pre-Islamic Iran, and projected Shi'i Islam as the central element of Iranian identity. In their efforts to create Islamic subjects, they deprived people many of their civil and political rights. In the new political environment, the fiction writers such as Danishwar, Sadiqi and Arian showed remarkable interest in using pre-Islamic mythological and historical references, themes and events in their writings. Such literary production functioned as a literary resistance to the policies of the Islamist rulers.To substantiate the findings about the use of pre-Islamic legacy in modern Persian literature, the dissertation also examined the representation of Iranian antiquity in Persian films. The dissertation showed that the political representation of pre-Islamic heritage in Persian literature finds a parallel, though less pronounced, in Persian films too.
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Fatemi, Sarah. "Saffron 'n Rose." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/687.
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Mazurek, Michelle L. "A Tag-Based, Logical Access-Control Framework for Personal File Sharing." Research Showcase @ CMU, 2014. http://repository.cmu.edu/dissertations/325.
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People store and share ever-increasing numbers of digital documents, photos, and other files, both on personal devices and within online services. In this environment, proper access control is critical to help users obtain the benefits of sharing varied content with different groups of people while avoiding trouble at work, embarrassment, identity theft, and other problems related to unintended disclosure. Current approaches often fail, either because they insufficiently protect data or because they confuse users about policy specification. Historically, correctly managing access control has proven difficult, timeconsuming, and error-prone, even for experts; to make matters worse, access control remains a secondary task most non-experts are unwilling to spend significant time on.
To solve this problem, access control for file-sharing tools and services should provide verifiable security, make policy configuration and management simple and understandable for users, reduce the risk of user error, and minimize the required user effort. This thesis presents three user studies that provide insight into people’s access-control needs and preferences. Drawing on the results of these studies, I present Penumbra, a prototype distributed file system that combines semantic, tag-based policy specification with logicbased access control, flexibly supporting intuitive policies while providing high assurance of correctness. Penumbra is evaluated using a set of detailed, realistic case studies drawn from the presented user studies. Using microbenchmarks and traces generated from the case studies, Penumbra can enforce users’ policies with overhead less than 5% for most system calls. Finally, I present lessons learned, which can inform the further development of usable access-control mechanisms both for sharing files and in the broader context of personal data.
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Surma, Hanna Barbara [Verfasser], Eva-Maria [Gutachter] Warth, and Eggo [Gutachter] Müller. "Medien des Selbst : First Person Videos im Life Intervention-Fernsehen / Hanna Barbara Surma ; Gutachter: Eva-Maria Warth, Eggo Müller ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2019. http://d-nb.info/1177364069/34.
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Surma, Hanna [Verfasser], Eva-Maria [Gutachter] Warth, and Eggo [Gutachter] Müller. "Medien des Selbst : First Person Videos im Life Intervention-Fernsehen / Hanna Barbara Surma ; Gutachter: Eva-Maria Warth, Eggo Müller ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2019. http://nbn-resolving.de/urn:nbn:de:hbz:294-62403.
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Seguin, Guillaume. "Analyse des personnes dans les films stéréoscopiques." Thesis, Paris Sciences et Lettres (ComUE), 2016. http://www.theses.fr/2016PSLEE021/document.
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Les humains sont au coeur de nombreux problèmes de vision par ordinateur, tels que les systèmes de surveillance ou les voitures sans pilote. Ils sont également au centre de la plupart des contenus visuels, pouvant amener à des jeux de données très larges pour l’entraînement de modèles et d’algorithmes. Par ailleurs, si les données stéréoscopiques font l’objet d’études depuis longtemps, ce n’est que récemment que les films 3D sont devenus un succès commercial. Dans cette thèse, nous étudions comment exploiter les données additionnelles issues des films 3D pour les tâches d’analyse des personnes. Nous explorons tout d’abord comment extraire une notion de profondeur à partir des films stéréoscopiques, sous la forme de cartes de disparité. Nous évaluons ensuite à quel point les méthodes de détection de personne et d’estimation de posture peuvent bénéficier de ces informations supplémentaires. En s’appuyant sur la relative facilité de la tâche de détection de personne dans les films 3D, nous développons une méthode pour collecter automatiquement des exemples de personnes dans les films 3D afin d’entraîner un détecteur de personne pour les films non 3D. Nous nous concentrons ensuite sur la segmentation de plusieurs personnes dans les vidéos. Nous proposons tout d’abord une méthode pour segmenter plusieurs personnes dans les films 3D en combinant des informations dérivées des cartes de profondeur avec des informations dérivées d’estimations de posture. Nous formulons ce problème comme un problème d’étiquetage de graphe multi-étiquettes, et notre méthode intègre un modèle des occlusions pour produire une segmentation multi-instance par plan. Après avoir montré l’efficacité et les limitations de cette méthode, nous proposons un second modèle, qui ne repose lui que sur des détections de personne à travers la vidéo, et pas sur des estimations de posture. Nous formulons ce problème comme la minimisation d’un coût quadratique sous contraintes linéaires. Ces contraintes encodent les informations de localisation fournies par les détections de personne. Cette méthode ne nécessite pas d’information de posture ou des cartes de disparité, mais peut facilement intégrer ces signaux supplémentaires. Elle peut également être utilisée pour d’autres classes d’objets. Nous évaluons tous ces aspects et démontrons la performance de cette nouvelle méthodePeople are at the center of many computer vision tasks, such as surveillance systems or self-driving cars. They are also at the center of most visual contents, potentially providing very large datasets for training models and algorithms. While stereoscopic data has been studied for long, it is only recently that feature-length stereoscopic ("3D") movies became widely available. In this thesis, we study how we can exploit the additional information provided by 3D movies for person analysis. We first explore how to extract a notion of depth from stereo movies in the form of disparity maps. We then evaluate how person detection and human pose estimation methods perform on such data. Leveraging the relative ease of the person detection task in 3D movies, we develop a method to automatically harvest examples of persons in 3D movies and train a person detector for standard color movies. We then focus on the task of segmenting multiple people in videos. We first propose a method to segment multiple people in 3D videos by combining cues derived from pose estimates with ones derived from disparity maps. We formulate the segmentation problem as a multi-label Conditional Random Field problem, and our method integrates an occlusion model to produce a layered, multi-instance segmentation. After showing the effectiveness of this approach as well as its limitations, we propose a second model which only relies on tracks of person detections and not on pose estimates. We formulate our problem as a convex optimization one, with the minimization of a quadratic cost under linear equality or inequality constraints. These constraints weakly encode the localization information provided by person detections. This method does not explicitly require pose estimates or disparity maps but can integrate these additional cues. Our method can also be used for segmenting instances of other object classes from videos. We evaluate all these aspects and demonstrate the superior performance of this new method
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Ashurst, Gail. "In the footsteps of 'The Wicker Man' : personal mythopoesis and the processes of cult film fandom." Thesis, Manchester Metropolitan University, 2009. http://e-space.mmu.ac.uk/556462/.
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In contemporary cult film scholarship, the experiences of cult fans are too often subject to scholarly speculation rather than empirical observation, and tend to be limited to certain kinds of audience responses - deviant, rebellious, subversive. Even in instances where actual cult fans have been considered at all, scholars have largely produced synchronic snapshots rather than insights derived from sustained programmes of audience research. This study focuses on a faction of the increasingly visible cult following which has emerged in recent years around the British film The Wicker Man. Drawing on the personal testimonies of eight enduring fans of the film, I explicate and explore the range of experiences and complex processes involved in becoming and remaining a fan of The Wicker Man. I develop an approach to cult film fandom which aims to provide an account of the origins and evolution of a specific cult film formation. Combining textual analysis with a rich body of ethnographic research I collected over eight years, I tease out the complexities of the film's initial import for these fans and proceed to examine how their relationships with the film develop over time. In the meantime, I engage with a number of under-explored and uncharted concepts of cult which include issues relating to personal resonance, aesthetic experiences, affects, as well as the quasireligious dimension. The main argument of the study is that the cult film experience can be perceived as a form of personal mythopoesis -a process which engages the individual in modes of personal and collective mythmaking, and within which the integrity and coherence of the self is at stake. Drawing on theories in cognitive psychology and concepts originating from within personal mythology, I develop an original model of cult fan subjectivity which foregrounds the self's preconscious and experiential dimensions. Demonstrating the significance of generational factors and cultural location, I propose to show how the respondents in my study share a preconscious disposition to The Wicker Man. My study explicates and explores the relationship between cult film fandom and the mythmaking process by focusing on three specific trajectories through which the fan-text relationships analysed here develop. The first explores the formative experiences of these fans, emphasising early cultural investments which share aesthetic and thematic links with The Wicker Man and which predispose them to the film in a number of complex and fascinating ways. The second trajectory centres on the fans' initial encounters with the film, paying close attention to the aesthetic experiences they undergo and proceeding to observe the trace manifestations of these experiences in subsequent fan practices beyond the viewing context. The final trajectory examines the ways in which the fans continue to interact with the film over time, and discusses elements of their identities and experiences which uniquely position them in relation to The Wicker Man's dialectical treatment of myth. The conclusion draws together the main findings of the study and considers the relationship between personal mythopoesis, cult fandom and the processes of individuation to argue for ways of understanding cult mythopocsis in terms of a religious process.
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Taranger, Nils. "A Blue Flower: The Development of a Personal Documentary." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5526.
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A Blue Flower is a feature-length documentary film by Nils Taranger, made as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film focuses on the director's journey to find healing, both physically and emotionally. Following the guidelines of UCF's program, Nils produced the film on a microbudget (under $50,000) level. The majority of filming took place in Florida with only a one or two person crew. This thesis is a record of the film's progression from development to picture lock, in preparation for distribution.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Restar, Anthony Carandang. "Personal, Social, and Academic Factors that Impact Educational Outcomes for Asian-Americans in Higher Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1393%5F1%5Fm.pdf&type=application/pdf.
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Ibel, Maximilian [Verfasser]. "The Impact Of Personal And Managerial Traits On Firm Value / Maximilian Ibel." Wuppertal : Universitätsbibliothek Wuppertal, 2014. http://d-nb.info/1063114411/34.
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Hu, Lie. "An enhanced semantic model to support personal file management in academic environments." Thesis, Glasgow Caledonian University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309321.
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Hamed, Abu Bakar. "The personal networks of small firm entrepreneurs in Malaysia an exploratory study /." Thesis, Connect to e-thesis, 1995. http://theses.gla.ac.uk/729/.
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Thesis (Ph.D.) - University of Glasgow, 1995.Ph.D. thesis submitted to the Department of Management Studies, University of Glasgow Business School, 1995. Includes bibliographical references. Print version also available.
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Ostgaard, Tone A. "New venture growth : an analysis of personal networks and firm competitive strategy." Thesis, Imperial College London, 1992. http://hdl.handle.net/10044/1/7458.
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Proszek, James Michael. "Drawn Apart: Visual Representations of the Persian Wars in Contemporary Graphic Novels and Film." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1833.
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Over the past two millennia, dominant Western narratives of the Persian Wars have established a problematic East-West binary in which Greece is represented as a defender of democracy whose improbable victory over the Persians laid the foundation for the development of Western civilization and the Persians are represented as a power hungry, totalitarian “Other” determined to subjugate all whom they encounter. Frank Miller’s graphic novel, 300, and its subsequent film adaptations, 300, and 300: Rise of an Empire (collectively referred to as the 300 franchise) have reinforced and contributed new problematic elements to the dominant Persian War narratives with contemporary visual representations of key historical figures, locations, and events as they pertain to the conflict. In this thesis I conduct a visual rhetorical analysis of the 300 franchise to identify and explain its problematic visual representational tactics for both the Greeks and Persians. Next, I conduct a visual rhetorical analysis of a non-Western Persian Wars counter-narrative, Ramin Abhari’s Xerxes Speaks. Throughout my analysis of Xerxes Speaks I identify instances in which the counter-narrative addresses 300’s problematic representations of the East as “Other.” I conclude by discussing the importance of critiquing visual representations in order to continue to disrupt dominant Western Persian War narratives and subsequently try to establish a currently marginalized Persian perspective on the Persian Wars.
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Schmitt-Pitiot, Isabelle. "Rencontres à part : Films, personnages et spectateurs de Woody Allen." Phd thesis, Université de Bourgogne, 2007. http://tel.archives-ouvertes.fr/tel-00483686.
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Se donnant pour objet l'analyse des relations s'établissant entre les films de Woody Allen (de "Prends l'oseille et tire-toi", 1969, à "la vie et tout le reste", 2003) et leurs spectateurs, l'étude part d'une définition de l'image publique du cinéaste pour se concentrer ensuite sur le personnage filmique "Woody Allen" puis sur la manière dont les films eux-mêmes représentent la figure de l'auteur et mettent en scène la relation avec leur(s) spectateurs(s) comme une rencontre paradoxale.
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Ryneš, Zdeněk. "Uvnitř okolí." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240596.
Full textAbstract:
The topic of this diploma thesis is a form of own personal space which is confronted with scene visuality used in film industry. It is about linking an existing and fictive (illusionary) environment. I can see the cinematographic space as an image of its physical equivalent. I do search for scenes in existing movies, which are charting the interiors of environments, where the movie is being set. I do use the camera moves and the ways of seeing the immediate surroundings as they are used in those scenes and I repeat them in my own private apartment. Screenplay structure comes from my apartment dispositions. The final dual channel video leads the spectactor through two levels of space in the same time.
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Imai, Hideaki. "The Role of Film-making in Nature-human Relationships." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1523999723625547.
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Bragg, Julia Nicole. "Surviving Survivor: How Coalitions Persevere in Survivor." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami158817263906927.
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Trautner, Mary Nell. "Screening, Sorting, and Selecting in Complex Personal Injury Cases: How Lawyers Mediate Access to the Civil Justice System." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1683%5F1%5Fm.pdf&type=application/pdf.
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