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Dissertations / Theses on the topic 'Politics in motion pictures. Motion pictures Motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Williams, Tami Michelle. "Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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3

Hui, Suet-hung. "Subversive females : the politics of defiance in Zhang Yimou's films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059966.

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4

Thomas, Patricia Brooks. "Propaganda on film : shadows from the past, projections for the future?" Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678661.

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5

潘敏聰 and Man-chung Pun. "Remembering the cultural revolution: a study of Chinese cinema since 1978." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B3122779X.

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6

Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.

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Hui, Suet-hung, and 許雪紅. "Subversive females: the politics of defiance in Zhang Yimou's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951648.

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8

Warren, Naomi Irene. "The politics of representation : a rhetorical analysis of Spike Lee's films, 1986-1998 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/fullcit?p9959605.

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9

Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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10

Budziszewski, Przemyslaw. "Our enemy, ourselves: Political conspiracy in American cinema, 1970-present." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4269/.

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This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three dec

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11

Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.

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This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.<br>In this discursive analysis

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12

Verano, Frank. "D.A. Pennebaker and the politics and aesthetics of mature-period direct cinema." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65757/.

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In this thesis, I offer a reappraisal of direct cinema through a study of documentarian D.A. Pennebaker's mature-period direct cinema. This is an unexamined period in Pennebaker's career that offers new perspectives on an often-maligned form of documentary. The period under study ranges from 1968 to 1970 and encompasses a range of films, commercials, abandoned projects and personal works. I focus on three films: Eat the Document, Sweet Toronto and One P.M. By shifting the critical focus away from the early and classical period of direct cinema, as well as its ‘canonical' films, I ask: How does

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13

Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Ho

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14

Hanlon, Dennis Joseph Newman Kathleen E. "Moving cinema Bolivia's Ukamau and European political film, 1966-1989 /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/374.

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15

Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.

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Thesis (MA)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implication

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16

Liu, Wai-yeung. "The politics of nostalgia explorations of home, homeland and identities in the context of an accented cinema /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B36613368.

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Liu, Wai-yeung, and 廖慧楊. "The politics of nostalgia: explorations of home, homeland and identities in the context of an accented cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B36613368.

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18

Topp, Dominic. "The representation of politics : the films of Jean-Luc Godard and the Dziga Vertov Group, 1967-1972." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/47917/.

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This thesis examines the films made by Jean-Luc Godard, both alone and in collaboration with others, between 1967 and 1972. Whereas previous accounts have characterised these films as a relatively unified phase of Godard’s career, both thematically and formally, I argue that they can best be understood not as one consistent project but as the exploration of a number of different approaches to political cinema, and as a dynamic interaction between a highly idiosyncratic filmmaker and a changing political and cultural landscape before, during and after the events of May 1968. Working within the

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19

Willis, Andrew. "Violent exchanges : genre, national cinemas and the politics of popular films : case studies in Spanish horror and American martial arts cinema." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/13908/.

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This thesis argues that in order to understand the way in which films work one has to place them into a variety of contexts. As well as those of production, these include the historical and culturally specific moments of their creation and consumption. In order to explore how these contexts impact upon the textual construction of individual and groups of films, and our potential understanding of them, this study offers two contrasting case studies of critically neglected areas: Spanish horror cinema since the late-1960s; and US martial arts films since the late 1980s. The first places a range

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20

Chan, Shuen-yan, and 陳旋茵. "History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951843.

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Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.

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22

Soroka, Stuart (Stuart Neil) Carleton University Dissertation Political Science. "Popular culture and politics: exploring the agenda-setting capability of major motion pictures." Ottawa, 1994.

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23

Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government le

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24

Sonnet, Esther. "The politics of representation : modernism, feminism, postmodernism." Thesis, University of Nottingham, 1993. http://eprints.nottingham.ac.uk/11076/.

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This study is an investigation into the shifts in ways of knowing which have been subsumed under the label of postmodernism. More specifically, it is concerned to relate theories of Postmodernism to the construction of film as an object of knowledge and to feminism's place in a Modernist/postmodernist divide. Chapter One offers an examination of competing readings of the nature of aesthetic Modernism drawing primarily upon debates on Modernist epistemological legitimation advanced by Jurgen Habermas and Jean-Franicois Lyotard. Chapter Two utilizes Lyotard's notion of Modernism as knowledge leg

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25

Jung, Berenike Christiane. "The (in)visibilities of torture : political torture and visual evidence in U.S. and Chilean fiction cinema (2004-2014)." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81387/.

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This thesis explores how selected contemporary U.S. and Chilean films and television shows depict political torture, in relation to visual documentation of factual cases. The films explore the uneasy complicity in seeing or watching torture, which concerns both the spectacle of cinema, the nature of torture as well as the position of the audience or witness. Casting a wider net on the definition of torture, I suggest that these media products can help broaden our comprehension of the event torture, in its collective and emotional dimension, its long-term social effects as well as its links to

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26

Schilt, Thibaut. "Marginal pleasure and auteurist cinema the sexual politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116968586.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains viii, 255 p. Includes bibliographical references (p. 234-255). Available online via OhioLINK's ETD Center

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27

Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.

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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relati

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28

Peng, Kan. "A political economy of online film exhibition in China." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/23.

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As one of the most revolutionary technologies in human history, the Internet has dramatically transformed the media industry, including the film exhibition industry. In China, new online exhibition networks have continuously been established to exploit the lucrative markets of Internet users' online viewing and sharing habits. The destinies of different types of films in the Chinese market have been greatly changed due to the increasing connections and contradictions between China's Internet and film exhibition industry which are influenced by many political economy factors, such as the confli

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29

Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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30

Huang, Jinhui, and 黃勁輝. "From the novel Fuxi Fuxi to the movie Judou." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31380268.

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31

Chan, Kim-mui Eileen, and 陳劍梅. "Postmodernity and recent Hong Kong cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.

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32

Maltère, Hugues. "The socio-political dimension of film noir /." This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08142009-040450/.

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33

Mukhida, Leila. "Politics and the moving image : contemporary German and Austrian cinema through the lens of Benjamin, Kracauer and Kluge." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5669/.

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This thesis charts the trajectory of a strand of film-theoretical optimism in texts by Walter Benjamin (1882-1940), Siegfried Kracauer (1889-1966) and Alexander Kluge (1932–) from different moments in the twentieth century; the empirical corpus looks to post-reunification German and Austrian cinema to find evidence of this theoretical optimism in contemporary filmmaking practices. The thinkers advocate the leftist-political potential of film to stimulate a critical mode of spectatorship, and are to varying degrees influenced by Brecht and the neo- Marxist politics of the \({Frankfurter Institu

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34

Wong, King-fai. "From the novel Fuxi Fuxi to the movie Judou a study of Chinese culture in the eyes of the west = Cong xiao shuo dao dian ying kan xi fang lun shu de Zhongguo wen hua : yi yuan zhu xiao shuo "Fuxi Fuxi" ji dian ying "Judou" wei li /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31380268.

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35

Cicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.

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This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the

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36

Marie, Laurent. "The French Communist Party and French cinema 1944-1999." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/3061/.

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This dissertation examines the relationship between the French Communist Party (PCF) and French cinema between 1944 and 1999. The approach adopted is an historical and political one, exploring the context behind the changing relations between the Party and the film industry. Both institutions have played a crucial part in the weaving of the political and cultural fabric of the country throughout the period. For both the PCF and French cinema, the Liberation marked a new beginning and a new relationship with the French state. Looking closely at the French Communist outlets over four key periods

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37

Gaus, Annie. "A More Porous Postmodernity: Absurdity, Politics, Consumerism and the Cultural Authority of Spongebob Squarepants." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411126786.

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38

Khouri, Malek. "Ideology and critical politics in the discourse on Canadian cinema." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26924.pdf.

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39

Huang, Tsung-yi Michelle. "Amidst slums and skyscrapers the politics of walking and the ideology of open space in East Asian global cities /." online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3051067.

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40

Yu, Hongmei. "The politics of images : Chinese cinema in the context of globalization /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8304.

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Thesis (Ph. D.)--University of Oregon, 2008.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 306-318). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

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Walton, Jennifer Lee. "POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143492027.

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42

Cobb, Thomas. "Decade of disarray : Hollywood allegories of U.S. foreign policy, 1999-2009." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8660/.

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This thesis explores how a series of Hollywood films allegorised the contradictions of American foreign policy between 1999 and 2009. These contradictions are underlined in pictures that use military intervention as a subtext. My argument considers the role of allegory in an array of genres, including war pictures, Westerns, and comic book adaptations. The case studies I analyse allegorise a bipartisan consensus surrounding military intervention. I postulate that this consensus was crystallised in the Kosovo War of 1999 and later became apotheosised in the 2003 Iraq War. I contend that, in pic

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43

Oberacker, Jon S. "The people and me Michael Moore and the politics of political documentary /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/65/.

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44

Franks, Kristin N. "Exclusion at the Border: Female Smugglers in Maria Full of Grace and Frozen River." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244470239.

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45

Hall, Martin. "Theories of the subject : British cinema and 1968." Thesis, University of Stirling, 2018. http://hdl.handle.net/1893/28597.

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Aiming to make an intervention in critical theory, film-philosophy and British Cinema scholarship, this thesis investigates what a marriage of Lacanian and Badiouian theories of the subject can bring to the study of the radical British feature film of 1968: films which in differing ways represent the political and intellectual debates current in the culture. The question of what can be learnt through an analysis situated within theories of the subject has not been addressed within British Cinema studies. Psychoanalytic film theory in its previous incarnations utilised a section of Lacan's thou

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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.

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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute

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47

Giordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.

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Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.<br>The purpose of this dissertation is to analyse the "social tics" which flourish in various art for

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Ferrero-Regis, Tiziana, and n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new

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Older, Aguilar Sarah Michelle. "Witnessing media the reproduction and transmission of history in Southern Cone post-dictatorship fiction /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872211281&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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50

陳家樂. "光影中的政治 : 香港電影的政治表述 = Politics on the silver screen : political representation in Hong Kong films". HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/625.

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