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Dissertations / Theses on the topic 'Representations in film'

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Published: 4 June 2021
Last updated: 13 February 2022

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1

Woodward, Suzanne. "Imagining possibilities: trans representations in mainstream film." Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/16575.

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Trans representations have been a part of film since its inception, and this project is an investigation of the ways that audiences have been encouraged to imagine trans identities and experiences and understand trans issues. Because of the enduring and widespread popularity of these films, and the power and influence of the medium itself, it is important to understand what they enable for mainstream audiences as well as the role they play in cultural discourses about heteronormativity. The ways that the films construct trans narratives and characters tends to be closely tied to the genre they are intended to be part of, and they are understood according to these conventions. This project therefore uses genre analysis to examine mainstream trans representation, in conjunction with the developments in politics and academic discourses that have shaped contemporary understandings of trans stories. The project covers the four genres that dominate in mainstream trans films: comedy, horror, melodrama, and musicals. Each genre is dealt with in a separate chapter, but the links and intersections between them are explored as well. The chapters consider the particular influences, conventions, constraints, and innovations specific to each genre, through close reading of a few key texts, as a way of tracing the shifts that have occurred and the conventions that have endured, and offers suggestions as to why and how these elements survive or transform. Through tracing these developments, this project identifies the ways in which trans representations in popular film have played a role in developing and maintaining the trans visibility in mainstream society, and contributed to cultural discourses and understandings of trans issues. Despite the problems and stereotypes inherent in many of these films, they prevent trans identities from being erased or ignored. The films open up gaps in the heteronormative monolith, which can be ever be fully resealed, and which provide a space for other possibilities to be imagined.
Whole document restricted until Jan. 2013, but available by request, use the feedback form to request access.
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2

Phillips, Diane. "Women's rites, representations of childbearing in film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37611.pdf.

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3

Weinhold, Florian. "Self/other representations in Aleksei Balabanov's 'Zeitgeist movies' : film genre, genre film and intertextuality." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/selfother-representations-in-aleksei-balabanovs-zeitgeist-movies-film-genre-genre-film-and-intertextuality(29460f94-0440-431c-8d59-53133c73489f).html.

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This thesis uses the prism of genre to explore the character of self/other representations in five 'genre films' made by the Russian filmmaker Aleksei Balabanov and released between 1997 and 2006. It provides the first book-length study of Balabanov and aims to shed new light on the complexity of genre films and their representation techniques in an influential area of post-Soviet Russian cinema. The thesis aims to deconstruct the widespread perception of Balabanov as a populist director of 'mere genre movies', which are replete with xenophobic self/other representations. The films under investigation are linked through their developments of genre, evolving themes, an overarching narrative and multiple dialogicity among themselves, with their audiences and with Hollywood. They are shown to reflect the changing post-Soviet Russian Zeitgeist and its historical context. They do so by self-consciously deploying Hollywood genres and blending them with transgeneric modes/styles under the influence of renowned cinematic and literary inter-/transtextual works. The study examines the relationship between Balabanov's articulation of post-Soviet Russian identity vis-à-vis representations of dominant others, such as America, the Caucasus, Western Europe, Ukraine and, importantly, what the films portray as society's ruling criminal elites (primarily the New Russian 'gangsters').Combining the concepts of film genre with inter-/transtextuality within close film-textual analyses, the thesis focuses on the filmic texts and their visual, sound and narrative elements, which together indicate particular genre blends and their parabolic/allegorical potential. The analytical chapters investigate how these impinge upon the ideological orientation of Balabanov's approach to self/other representations. Film genre thus provides a method for exploring the articulations of an evolving post-Soviet Russian identity in Balabanov's work. The thesis reveals the director's self-consciously ambiguous perspectives on Russia's self, its own otherness in a globalised/ing world and the corrupting influences of the country's state-Socialist militarist past, previous and current military conflicts and the country's capitulation to the capitalist market. The application of a conceptual framework drawn from film genre studies enables the thesis to explore how these popular genre films become a platform for presentations of an internally divided Russian national self in its interactions with its various constitutive others, themselves characterised by diversity and inner heterogeneity. As a result, the thesis provides a long-overdue methodological interpretation of the most controversial segment of Balabanov's oeuvre and challenges received bi-partite views of this hitherto largely misrepresented auteur.
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SMITH, ERIN LIANNE. "HAUSERSTUCKE: REPRESENTATIONS IN TWENTIETH-CENTURY GERMAN FILM AND THEATER." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/192244.

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5

Cherabi-Labidi, Nadia. "Les representations sociales dans le cinema algerien de 1964 a 1980." Paris 3, 1987. http://www.theses.fr/1987PA030072.

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Analyse de la cinematographie algerienne a partir d'un corpus de 5 films realises de 1964 a 1980. Analyse diachronique de cet ensemble pour saisir la dynamique des representations sociales sur deux decennies et analyse synchronique pour saisir les liens entre un ensemble de representations dessinant les contours de l'imaginaire. Quatre axes de reflexion : - la representation de l'espace (rapport ville campagne) - la representation du temps (passe present) - la representation des univers sociaux (classes et milieux sociaux, personnages referentiels) - la representation des femmes. Cinq films etudies : "le vent des aures" (m. L. Hamina, 1965); "le vent du sud" (m. S. Riadh, 1975); "echebka" (g. Bendedouche, 1975), "omar gatlatou (m. Allouache, 1976); "leila et les autres" (s. A. Mazif, 1978). Ces films, etudies dans une perspective socio-semiotique, ont fait l'objet d'une analyse textuelle et intertextuelle et ont fini par constituer un seul texte dont chaque film revelait un aspect particulier du cinema algerien. Ainsi ont ete mis en lumiere certains fragments de films pour : cerner l'entite spectateur algerien ("omar gatlatou"); analyser un generique, debut de film, en remarquant qu'il etait aussi le lieu d'un debat sur le cinema (generique de "omar gatlatou"); analyser deux fins de film en observant leur retroaction sur la lecture de tout le film ( ("vent des aures" et "echebka"); analyser les titres de film et l'effet d'echo et d'interdiscursivite; reperer la reference et l'auto-reference que contiennent les films par rapport au cinema, a la tv et aux cineastes; observer les cliches narra- tifs et descriptifs et leur effet sur la fiction ("vent du sud"); observer les op- positions spatiales (rural urbain) et leurs formes culturelles dans les films (tra- dition modernite). Le tout s'est trouve synthetise dans l'analyse de l'affiche du film "leila et les autres", a laquelle est consacree la derniere partie de ce travail
Analysing algerian film making from a corpus of five motion pictures produced between 1964 and 1980. Biachronic analysis of these pictures to understand the dynamics of social paintings over two decades and synchronic study to grasp the connections between such paintings outlining the imagery. Four realms of reflection : - depiction of spce (city vs country) - depiction of time (past vs present) - depiction of social media (social classes and characters to refer to) - paintings of womankind five movies have been studied : "le vent des aures" (m. L hamina, 1965) - "le vent du sud" (m. S. Riadh, 1975) - "echebka" (g. Bendedouche, 1975) - "omar gatla- tou" (m. Allouache, 1976) - "leila et les autres" (s. A. Mazif, 1978). Those pictures have been studied through a socio-semiotic viewpoint, a textual and intertextual analysis, and ended up coalescing into a single body, a particular aspect of which each movie uncovered. Thus some excempts from these were brought to attention for : - encompassing the entity "algerian audience" or algerian spectator - analyzing a soundtrack and the beginning of a motion picture that shows a discussion about movie making (soundtrack from "omar gatlatou"; - studying the last pictures from two movies, particularly their retroaction on a rerun of the whole movies; - pondering over titles, the echoing effect and interdiscursivity; - pinpointing the referents and the self referring bearings inside motion pictu- res with regard to cinema, television and moviemakers; - searching for narrative and descriptive stereotypes and their effects over fiction; - bringing forth space oppositions (town vs country) and the cultural forms
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Coles, Fen. "Frightful pleasures : representations of lesbian monsters in American horror film." Thesis, University of Warwick, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412851.

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Schuckman, Emily E. "Representations of the prostitute in contemporary Russian literature and film /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/7168.

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Fedosik, Marina. "Representations of transnational adoption in contemporary American literature and film." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 226 p, 2009. http://proquest.umi.com/pqdweb?did=1818417541&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Hogbin, Timothy Charles. "Viewing the rushes : representations of drug use in British film." Thesis, University of Manchester, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490382.

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Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.

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Mestrado em Estudos Ingleses
O presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Reagan. ABSTRACT: This present study aims to examine different representations of American youth in Hollywood film, particularly in the 1980s. This dissertation begins with an examination of some representations of American youth after World War II in an attempt to investigate the trends which affected its representations and how they have evolved from then until the end of the 1980s. Finally, it offers some detailed reflections on depictions of adolescence in Hollywood film during the Reagan years.
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O'Hara, Mark William. "Foucault and Film: Critical Theories and Representations of Mental Illness." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1415896906.

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Kimura, Keisuke. "Identity in the Shell: Hollywood Film Representations of Japanese Identity." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu152302397851392.

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Krebs, Martina. "Hotel stories : representations of escapes and encounters in fiction and film /." Trier : WVT Wissenschaftlicher Verlag, 2009. http://www.wvttrier.de.

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Fitch, John C. III. "THE CINEMATIC COLLEGE PROFESSOR: CONCEPTIONS AND REPRESENTATIONS." UKnowledge, 2018. https://uknowledge.uky.edu/epe_etds/58.

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Depictions of college professors in American films are common, and while a number of studies have investigated various aspects of college life in motion pictures, few have focused exclusively on the cinematic professoriate. In addition to being an indelible part of history, cinematic depictions of college professors are part of the national discourse on the role and function of the faculty and university. An investigation of how college professors have been represented in American films, and how these representations are read and created by real-life college professors and filmmakers may provide a deeper understanding of the relationship between popular culture images and academia. This project consists of three sections. The first focuses on the trajectories of negative representations of college professors in popular American films from 1970-2016. The second examines interview responses of film professors to on-screen depictions of college faculty. The third presents a case study of professorial depictions by a group of filmmakers who created a feature length film about a college professor. As various public stakeholders are increasingly questioning the role of the college professor and the institution of higher education, this project seeks to examine the influence of popular professor images and cultural influences on the conceptions of two interpretive communities – one that embodies the professoriate and one that creates images surrounding it. Moreover, this project considers these depictions within film marketplace and popular culture contexts.
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Cupp, Lauren. "The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/958.

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Carol Clover defined a Final Girl as a stereotype of the pure, virginal sole survivor in 1980’s slasher films such as Texas Chainsaw Massacre and Halloween. But does this representation hold up in 2016 films? Because the horror genre is so broad today, it’s almost impossible to nail down a certain stereotype of the genre, if there even is one. Films like the 1996 slasher parody Scream historically subverted the slasher genre, and since then there has been little to no iconic Final Girls. I argue that this trope is one very much set inside the confines of the 1980’s slasher genre, and instead is being replaced by an older, more responsible Dysfunctional Mother female character that arises from supernatural films of the late 2000’s-2010’s.
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Razman, Diana Cristina. "Black Sails, Rainbow Flag: Examining Queer Representations in Film and Television." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22626.

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This thesis aims to present, discuss, and analyze issues relating to queer representations in film and television. The thesis focuses on existing tropes, such as queer coding, queerbaiting, and the “Bury Your Gays” trope that are prevalent in contemporary media, and applies the analysis of these tropes to a case study based on the television series Black Sails (2014-2017). The analysis explores the main research question: in what way does Black Sails subvert or reproduce existing queer tropes in film and television? This then leads to the discussion of three aspects: the way queer sexual identities are represented overall, what representational strategies are employed by the series in a number of episodes, and whether or not these representations reproduce or subvert media tropes.
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Krebs, Martina. "Hotel stories representations of escapes and encounters in fiction and film." Trier Wiss. Verl. Trier, 2008. http://www.wvttrier.de.

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Rutherford, Jennifer R. "Sites of struggle : representations of family in Spanish film (1996-2004)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/2557.

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This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.
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McGonagle, Joseph M. "Representations of ethnicity in French film and photography since the 1980s." Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557128.

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Via an interdisciplinary framework that draws upon post-structural, post-colonial and feminist theories, this thesis considers representations of ethnicity in French film and photography since the 1980s. Very few studies of the representation of ethnicity in French photography have been undertaken and French film and photography are seldom analysed together. The corpus of images discussed is diverse. Each chapter contrasts examples of photographic practice with film within France. Chapter One considers how national identity has been pictured within France. Chapter Two analyses the representation of an important regional centre: France's second city, Marseilles. Chapter Three examines the parameters of Jewishness within French film and photography. Chapter Four explores how women of Algerian origin have been portrayed since 2000. Recurrent themes are found regardless of the genre, medium or ethnicity in question. Important differences are highlighted between representations of France's white majority and ethnic minorities, and within these groups according to gender, sexuality, age and social class. I conclude that ethnicity has remained a crucial and contentious subject within French film and photography throughout the last twenty-five years and that further such studies are now needed.
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Lindohf, Jessica Malin. "Images of the end : representations of the apocalyptic in contemporary film." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/3104/.

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This thesis sets out to investigate the relationship between the ‘classical apocalypse’ and the contemporary apocalypse as portrayed by the films A Clockwork Orange (1971), Apocalypse Now (1979) and Crash (1995). The ‘classical apocalypse’ is a literary genre which supplies a rich and vivid imagery where the image takes precedence over the narrative. At the centre of the ‘classical apocalypse’ is the image, and this thesis explores it the imagery of apocalypse can be translated from its traditional literary form to the visual form of film. The apocalypse is a revealing of that which has been concealed and which lies in the future of humankind at the end of time. In the postmodern era with the absence of meaning, apocalypse and God, the apocalypse has become a nihilistic repetition and the revealing has become feared since it might be a revealing of nothing. These contemporary depictions of the end, I would argue, help the apocalypse to come into its own in a postmodern setting, and the medium of film offers a possibility to further emphasise the visuality and potent imagery of the end, expressing the concerns of the apocalypse fully. As such they provide a ‘sense of an ending’ and an apocalyptic sentiment which is an unnerving and evasive as the ‘classical apocalypse’. These films revisit as well as revamp and rehearse the imagery of the Biblical apocalypse, becoming a-theological statements if not on the Bible, on the state of society and the apocalypse.
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Stewart, Ian. "Presenting arms : representations of the British Army on film and television." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270306.

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McKeown, Aisling. "The migrant in contemporary Irish literature and film : representations and perspectives." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8z0x4/the-migrant-in-contemporary-irish-literature-and-film-representations-and-perspectives.

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The transition from the twentieth to the twenty-first century saw Ireland transformed from a homogeneous emigrant nation into a multi-cultural society. A growing body of contemporary Irish literature and film is engaging with the reality of multi-cultural Ireland and representing the challenges of migrant life from a variety of perspectives. At the same time, these narratives reflect the contradictions, confusions and concerns that define Irish attitudes towards their new migrant communities. The central argument of this thesis is that this new cultural production, whilst interrogating paradigms of national identity, is also adding different perspectives to the Irish literary and cinematic canon. I have chosen to focus on the novel, short story and film genres for their accessibility and potentially wide reach, as well as their tangible and permanent forms. Within my chosen genres, I have selected texts and films by both Irish and migrant writers and filmmakers that represent as diverse a range of perspectives as possible. My close textual analysis of the novels, short stories and films draws on historic Irish literary tradition and in the case of migrant writers, those of their countries of origin, to examine key themes, narrative style and form. More broadly, the research is informed by postcolonial, globalisation and transnational theory, reflecting its anthropological and sociological dimensions. My thesis reveals the impact of migrants on new Irish writing as producers of and protagonists within texts. It outlines changes to the notion of Irish identity, culture and writing as a consequence of immigration. Finally, as a study of a range of narratives that represent the experience of first-generation migrants in twenty-first century Ireland, it constitutes an original contribution to knowledge and provides a benchmark for further research into migrant writing and film of the future.
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Fenwick, Melissa E. "Reel Images: Representations of Adult Male Prisons by the Film Industry." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1962.

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Research on the criminal justice system, punishment, and media continue to generate academic interest, particularly in the realm of social constructionism. The social construction perspective provides insight into the process through which media-controlled images are translated into social definitions of crime and justice. One new area of interest is the representations of prisons and penal culture by the entertainment media, namely the film industry. In this study, the author contributes to the area of social constructionist literature by administering a content analysis of eleven feature films on male prisons produced between 1979 and 2001. The author examines the frequency and context of several constructs of penal culture: drug use and trafficking, rape and sexual assault, violence, and gang affiliation. This research examines whether the representations of these issues in recent motion pictures are consistent with extant academic correctional literature. The present study found that within prison films the amount of portrayal of drug use and trafficking, and rape and sexual assault is consistent with the academic literature. Overall, when compared to the academic literature, prison movies under represent gang affiliation but within movies that portray gang affiliation, that portrayal is similar to the academic literature. Notably, heroin was the drug of choice depicted within prison films while academic correctional research in prisons shows marijuana as the drug of choice. The most significant finding was that the amount and type of violence, specifically murder, was overrepresented in prison films compared to the amount and type of violence reported within current academic research. The over emphasis on violence and killing within prison films and the representation of heroin as the major drug consumed and trafficked could lead to public misunderstanding about the realities of prison life and living conditions of the prison institution. This study provides not only noteworthy information concerning the representations of prison life and penal culture by the film industry but also insight into the inconsistencies between the information presented on film and that within academic correctional literature that are transferred via this medium to the general public.
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Tweed, Hannah Catherine. "Aesthetics of autism? : contemporary representations of autism in literature and film." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/5996/.

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This thesis analyses representations of autism in twentieth and twenty-first century Anglo-American literature and film. It posits that, while many cultural portrayals of autism are more concerned with perpetuating the stereotypes surrounding the condition than with representing autistic experiences, there is evidence of a small but significant counter-current that is responding to and challenging more reductive representational modes. Each of my chapters examines prevailing narrative tropes that reinforce existing stereotypes of disability (narratives of overcoming, victimhood, dependency), which can be clearly evidenced in contemporary depictions of autism, from Barry Levinson’s Rain Man (1988) to Mark Haddon’s The Curious Incident of the Dog in the Night-Time (2003). In each case, a significant proportion of texts use the generic markers of autistic representation to question and subvert these more established literary and cinematic approaches. The twenty-first century authors discussed in this thesis repurpose and interrogate the prevailing stereotypes of autistic representations, and provide provocative considerations for the study of postmodernism, crime fiction, melodrama and autobiography. This critical crossover and the employment of genre tropes cross-examines the subversive potential of genre fiction and the significance of postmodernism as frameworks for examining depictions of autism. This thesis proposes that this crucial minority of texts embodies a writing forwards out of stereotypes of autistic representations, by both autistic and neurotypical authors, into new, twenty-first century representational patterns.
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Santiago, Maillim. "Little women: study of female representations in teen films and how those representations have affected gender perceptions." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/908.

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Although teen film is littered with tales of young women coming of age, the messages presented in most of these films follow a formula centered on a patriarchal nuclear family ideal, which leads to damaging perceptions regarding gender roles in teenage society. There is the main traditional model of stay at home mother with a father in the role of the breadwinner; the rise of rape culture; and the glass ceiling in the workplace. The young females consuming a mass amount of this media then reflect negatively on themselves. The research following this conundrum was broken into two parts: the production of a film looking to remedy the many problems of female representation in teen media and then monitoring the reaction to said film against its target audience: young females between the ages of fifteen and twenty-one. The purpose of this thesis is to explore what makes females within the teenage demographic react to certain kinds of media. If they react negatively or positively towards a media representation of themselves, to what extent does this affect the participants' activity in their daily lives? Therefore, through a process of screening three short films focused on teen issues - including the one made by myself for this study - and then conducting a survey focusing on questions regarding the participants' feelings towards the subject matter, their hopes for themselves, and teen media in general, there was an ability to gauge how deeply teen media affects the modern teenager.
B.F.A.
Bachelors
Arts and Humanities
Film
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Mulliken, Douglas. "Adapting Mozambique : representations of violence and trauma in Mozambican cinema and literature." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13986.

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This dissertation examines the ways in which violence and trauma are represented in two novels - Lídia Jorge’s A Costa dos Murmúrios (1988) and Mia Couto’s Terra Sonâmbula (1992) - and the cinematic adaptations of those novels - Margarida Cardoso’s A Costa dos Murmúrios (2004) and Teresa Prata’s Terra Sonâmbula (2007). All four works take place in Mozambique and actively engage with the two primary conflicts that occurred in that country - the Mozambican War of Independence (also known as the Anti-Colonial War), fought between 1964 and 1974, and the Mozambican Civil War, fought between 1977 and 1992. In order to provide suitable context for the textual and theoretical analysis found in the body of the dissertation, the study begins by providing a brief review of the history of cinema in Mozambique, focussing primarily on the period stretching from the start of the Anti-Colonial War in 1964 to the present day. It also examines the concept of national cinema, and whether such an idea is justifiable in a Mozambican context. The study continues by considering, in Chapter 2, the concept of adaptation and its limits. This chapter also provides an historical background for some of the atrocities committed during the Mozambican Civil War. Chapter 3 consists of close textual analysis of the two versions of A Costa dos Murmúrios. The chapter identifies two main themes running through both works - the question of subjectivity and a postmodern presentation of history, and the tense, erotic relationship that exists between the two main female protagonists of the narrative, both of whom end up the victims of severe trauma. Chapter 4 looks at the literary and cinematic incarnations of Terra Sonâmbula, with special attention paid to the function of magical realism in both works. This chapter argues that Couto uses magical realism as a sort of coping mechanism which allows his characters to remain hopeful, while the relative absence of magical realism in Prata’s film results in an entirely different representation of both the Mozambican Civil War and the experience of those who lived through it. This work concludes by arguing against too essentialist an understanding of how we define and categorise works of art, regardless of medium. Finally, it calls for further English-language scholarship in the field of Lusophone African cinema.
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Auger, Christine Anne. "Representations of Gatsby: Ninety Years of Retrospective." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5638.

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Jay Gatsby, F. Scott Fitzgerald’s most famous character, has starred in a variety of stage and screen adaptations in the ninety years since he was first introduced in The Great Gatsby (1925). This dissertation explores the Gatsby character as depicted in six important adaptations of the novel, including two Broadway productions, Owen Davis’ 1926 drama and John Collins’ 2010s play, Gatz, and four major motion pictures: Herbert Brenon’s 1926 lost silent film (starring Warner Baxter); Elliott Nugent’s 1949 black and white film (starring Alan Ladd); Jack Clayton’s 1974 color film (starring Robert Redford); and Baz Luhrmann’s 2013 3-D film (starring Leonardo DiCaprio). Each adaptation culls a new portrait of the titular character from Fitzgerald’s text and shows how Jay Gatsby is really James Gatz, an enigmatic man whose ongoing performance renders him an impostor who is chasing an impossible dream and staging an elaborate production. The major adaptations underscore the elasticity of the Gatsby character, and demonstrate that he is nothing if not an actor. This dissertation interprets these six adaptations of the novel as supplemental biographies of Jay Gatsby that contribute to the evolving legacy of the character in American popular culture. Production teams, at least in some sense, become stewards of Gatsby’s reputation, and they are therefore partially responsible for (re)defining the character’s enduring role in contemporary society. Each feature-length film revives public and scholarly interest in Fitzgerald and his fiction, and because their releases coincided with peaks in sales of the novel, their relationship with literary studies cannot be underestimated.
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Pustay, Steven James. "CELL PHONES AND CINEMA: FILMIC REPRESENTATIONS OF MOBILE PHONE TECHNOLOGY AND NEW AGENCY." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1180537475.

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Radovic, Milja. "Cinematic representations of nationalist-religious ideology in Serbian films during the 1990s." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7985.

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This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. In this dissertation I focus upon how selected films provide insight into the ideological discourse of the 1990s within the Serbian socio-political and cultural context. I discuss a range of Serbian films produced during the 1990s, and I analyse in detail several films, in particular Pretty Village, Pretty Flame (Lepa sela, lepo gore, Srdjan Dragojevic, 1995) and Wounds (Rane, Srdjan Dragojevic, 1998), in which I focus on the depiction of nationalist and religious elements in the films. I analyse cinematic representations of the nationalist-religious ideology, its characteristics, impacts and promotion. On the basis of this analysis I consider the extent to which these cinematic representations are subversive. My dissertation has seven chapters. In chapter 1, which is an introduction to the thesis, I state my research questions and methodology. In chapter 2 I discuss the research context and I consider literature relevant to my research. Since I am basing my research upon different fields, I divide this chapter into three parts: the first one is devoted to the field of film and religion in which I position this study; the second part is on the literature that I used for the exploration of the socio-political context of the 1990s; and the last part is devoted to literature written on Balkan, Yugoslav and Serbian cinema. In chapter 3 I provide an analysis of the Serbian socio-cultural and political context of the 1990s. Chapter 3 is divided into eight parts, in which I primarily focus on the creation, characteristics and impacts of the nationalist-religious ideology. This discussion includes an analysis of the interaction between the Church and the state in the promotion of this ideological discourse. This chapter is important for the further analysis of Serbian film, its contextualization, and understanding the main issues which films communicated. In chapter 4 I analyse Serbian films produced during the 1990s. In the first part of this chapter, and for the purpose of contextualization of Serbian film, I first briefly discuss the cinematic tradition of former Yugoslavia: the Black Wave movement. I move on to discuss the cinematic context of the 1990s and the films produced over this period of time. I particularly focus on several films which dealt with the political-ideological context of the 1990s. I discuss the most significant films which dealt with the war, violence, ideology and the collapse of Serbian society under the Milosevic regime. The aim of this chapter is to provide a cinematic context for the analysed films and a clearer understanding of Serbian film of the 1990s as politically engaged cinema. Chapter 5 is devoted to the film Pretty Village, Pretty Flame while in chapter 6 I analyse the film Wounds. I analyse these two films separately because of their unique depictions of the nationalist-religious ideology. Both chapters are structured the same way and are divided into two major parts. In the first part of each chapter I consider the film's plot, its genre and its production, as well as discussing the film's critical reception. In the second part of each chapter I analyse the film narrative and images. At the end of each chapter I discuss the results of my analysis. Chapter 7 is the last chapter of my thesis and is devoted to the conclusion. In this final chapter I discuss the findings based on the cinematic and contextual analysis in the previous chapters. As part of my final remarks, I outline the contributions this study has made and future research that can be developed on the basis of this thesis.
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Chen, Yannleon. "The laws of terrorism| Representations of terrorism in German literature and film." Thesis, University of Oregon, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1542689.

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Representations of the reasons and actions of terrorists have appeared in German literature tracing back to the age of Sturm und Drang of the 18th century, most notably in Heinrich von Kleist's Michael Kohlhaas and Friedrich Schiller's Die Räuber, and more recently since the radical actions of the Red Army Faction during the late 1960s and early 1970s, such as in Uli Edel's film, The Baader Meinhof Complex. By referring to Walter Benjamin's system of natural law and positive law, which provides definitions of differing codes of ethics with relation to state laws and personal ethics, one should be able to understand that Michael Kohlhaas, Karl Moor, and the members of the RAF are indeed represented as terrorists. However, their actions and motives are not without an internal ethics, which conflicts with that of their respective state-sanctioned authorities. This thesis reveals the similarities and differences in motives, methods, and use of violence in Schiller, Kleist, and representations of the RAF and explores how the turn to terrorism can arise from a logical realization that ideologies of state law do not align with the personal sense of justice and law of the individual.

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Hastings, Miriam Wendy. "Representations of desire and identity in contemporary women's writing and film-making." Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25785.

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Following the publication of Simone de Beauvoir's influential book, The Second Sex, (1949), many feminist critics in Europe and North America have discussed the problems facing women artists and critics of working within phallocentric and phallo-symbolic culture and language. Simone de Beauvoir was the first to demonstrate how male-dominated culture has used symbolic language in order to exclude, repress, and objectify women. Language is one of the key mechanisms employed in phallocentric culture to define and construct reality and gender identity according to male experience and desire. Feminist critics writing since the 1950s,. have been examining the ways in which women might find or develop a language through which they can express their own experience of reality, gender identity, sexual desire and pleasure. Many contemporary women writers and film-makers have appropriated the representations of female desire and sexuality that pervade male-dominated western culture, deconstructing and subverting them in order to create innovative and challenging representations of their own. They refer to, and draw upon, the traditional imagery and conventions of classic Hollywood cinema, using such references to serve their own ends and create their own meanings. They have also radically deconstructed and reappropriated stereotypical pornographic images, exploring the possibility of creating a female-oriented, woman-centred, non-misogynous erotica. Women working in the fields of literature and film are attempting to explore and develop alternative representations of female desire and gender identities, experimenting with new vocabularies of representation in order to explore women's perceptions of their multiple identities and their experience of themselves as desiring subjects. They have taken some of the most negative representations of women constructed by phallocentric culture, and reappropriated them in order to create innovative, alternative forms of representation and a radical critique of the social construction of "femininity" and gender identity.
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Gray, Charles L. "In plain sight| Changing representations of "biracial" people in film 1903-2015." Thesis, Marquette University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10174083.

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Rooted in slavery, the United States in both law and custom has a long history of adhering to the one drop rule–the stipulation that any amount of African ancestry constitutes an individual as black. Given this history, decidedly mixed race people have been subjected to a number of degrading stereotypes. In examining the three broad themes of the tragic mulatto, racial passing, and racelessness in cinema, this dissertation asks to what extent film representations of mixed race characters have had the capacity to educate audiences beyond stereotypes. Although a number of film scholars and critics have analyzed mixed race characters in American cinema, there is no treatment spanning the last century that comprehensively analyzes each film’s capacity to diminish racism.

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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.

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Paul, Daniel E. "Redefining a Gendered Genre: Representations of Masculinity in Contemporary Italian Teen Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563390733741339.

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Weston, Alexandra C. "Valkyries Handbook: Representations of Women in Comics." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/616.

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This thesis delves into the surprisingly uniform treatment of the female character in comic storytelling, across all media, and will examine how this has evolved over time. It further explores what these changes represent for the stories, the characters, the creators, and the readers. The focus of the production aspects of this project is on the curation and development of a feminist perspective on comic books, their narrative and the industry that forms them. Looking at specific examples from historical and modern comics, as well as creative
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Hernández, Rejón Mónica. "Like Sámis do : A postcolonial and intersectional analysis of the contemporary film representations and self-representations of the Sámi people." Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131499.

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The film representation of the Sámi people has evolved during the last century from the ethnographic portrayals that reproduce a romantic stereotype of the good savages, to feature and documentary films that discuss the Sámi identity and its colonial history. In recent years a new generation of Sámi and Swedish documentary directors have focused their work on analysing the impact that multiple structures of power actually have in the production of the Sámi identity and culture. In this research I explore the intersections of such structures in the documentary road movies Sámi Daughter Yoik (2007) by the Sámi-Swedish director Liselotte Wajstedt, and The Only Image of My Father (2004) by the Swedish director Kine Boman. The main purpose of the research is to examine the discussions of identity that these films propose and to analyse the strategies with which the directors question the simplistic representation of the Sámi people. Based on the postcolonial and intersectional perspectives, the text offers a critique of the discourses of authenticity that confine the Sámi identity into the frame of ethnicity. The study gives special attention to the different layers that the directors' identities involve and their role in the construction of alternative representations of the Sámi people. A relevant finding is that the directors have succeeded in representing the Sámi people as complex and heterogeneous, helped by their choices on genre, authorship and their own approach to identity as a performative, multidimensional and dynamic process.
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Rafferty, Barclay. "Adaptations of Othello : (in)adaptability and transmedial representations of race." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12075.

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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.
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Ellesmore, Susan. "Teacher representations in popular films : reception and relevance to professional development and change." Thesis, Southampton Solent University, 2002. http://ssudl.solent.ac.uk/620/.

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The research brings together elements from two disciplines, the sociology of education and film studies, to investigate the relevance of 'reel' world teacher representations to the real world lives of teachers, and to explore how the former offer opportunity for reflection on professional development and change. Media texts are utilised as an unconventional resource as either a replacement for and/or enhancement of educational theory, and teachers drawn from different stages of the teaching life cycle provide empirical data via their writing aspects of teacher culture in response to the stimulus of each text. In an age of visual culture, educational research which explores the medium of film is an important resource for professional development and change is an original contribution to knowledge at a time when current concerns are largely related to the repercussions of the ongoing implementation of government reforms. The research identifies the charismatic teacher who inspires loyalty and admiration in his/her students, forming a special relationship with them in a way which no other colleague can. A more complex analysis suggests that there are four varieties of the charismatic teacher: the eccentric, the resilient, the romantic and the enduring. Responses to such characters reveal that real world teachers reflect on the uncinematic bureaucracy of their everyday work compared with energised settings where student problems and cynical colleagues are overcome by 'reel' world teachers unfettered by pre-set agendas. A real/'reel' overlap occurs as real world teachers re-examine the personal and professional relationships which underpin their everyday work. Through watching examples from screen culture, they reflect on what the demands and rewards of teaching are, and how these impinge on a teacher's health and private life; the development of relationships with both students and colleagues; and the influence of those outside classroom and staffroom, both at local and government levels.
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Collins, Jacqueline A. "From lavender menace to lesbian heroic : representations of lesbian identities in contemporary Spanish fiction and film." Thesis, University of Sunderland, 2011. http://sure.sunderland.ac.uk/3315/.

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Pawlak, Wendy Sue. "The Spaces Between: Non-Binary Representations of Gender in Twentieth-Century American Film." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/238611.

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This dissertation examines the intersections among discourses of feminism, transgender studies, queer theory, film studies, and social activist practice. I address the question of how transphobia as a set of beliefs and behaviors is illustrated in four late-twentieth-century films, three produced in America and one originally released in Australia but later acquiring a significant following in this country. I define transphobia as the "fear of a transgendered person and the hatred, discrimination, intolerance, and prejudice that this fear brings" (Laframboise 2002) and transgender as a broad term that can apply to persons, behaviors, and filmic images, a "self-conscious politicization of identity that activates an investigation of gender relations within different s socio-spatial regimes" (Brooks 1) and "clearly disrupt[s] hegemonic notions of a stable trinity between sex, gender and sexuality" (Jennings and Lomine 146).I provide brief histories of feminist and queer theories to illustrate these fields' insufficiency in accounting for transgender experience and trace the establishment of transgender studies as an explicit field of study. Then, I examine works by transgender studies theorists and activists to explain the progression of thought that led to these writers' call for abolition of the binary gender system. In the following chapter, I trace the theoretical moves from a feminist theory of film to a queer theory approach to film, again pointing out the limited perspective that explicitly feminist analysis of film has frequently offered. Finally, I demonstrate the ways in which each film conforms to and/or defies heteronormative ideals of gender and sexuality and upholds the binary gender system. I suggest that ongoing efforts in transgender and other kinds of social activism might eventually bring about a postgenderist society wherein gender "roles" are no longer forced upon individuals, but may be adopted (or refused) by choice. To this end, I outline six criteria of what I term a positive film portrayal of transgender and explain how each film either meets or fails to meet these criteria, which generally focus on the degree to which the films allow their protagonists to maintain a gender identity that violates binary norms on a continual basis.
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Wu, Jing. "Imagining Chinese modernity narrative film, television drama, and representations of the Cultural Revolution /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3058452.

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Newman, Petra. "The laugh of Merlin in representations of the Holocaust : fiction, film and television." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393926.

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Tardi, Rachele. "Representations of Italian left political violence in film, literature and theatre (1973-2005)." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446520/.

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The thesis investigates representations of 'red' political violence in Italy of the so- called anni di piombo and later memory of it in selected films, theatrical works, novels and stories. After the Introduction, which includes a discussion of aims, key concepts and methods, there are four main chapters. Chapter One examines representations of the abduction and killing of Aldo Moro in two thematic groups; those which focus respectively on Moro and the brigatisti during the imprisonment and on the Via Fani massacre and the alleged conspiracy behind it. The analysis of these texts serves as a case study, highlighting key themes and issues that will recur in the next chapters. Chapter Two deals with texts that link political violence to relations between the generations - conflicts between father and son, relationships between mother and daughter/son - and reflects on the implications of their emphasis on the family. Chapter Three analyses texts that centre on women militants. It draws attention to two recurrent female types: the woman who strays from her maternal role in joining the armed group and later seeks 'normalization' and the ex-militant who remains committed to her former beliefs, in contrast both to a male character and a female 'good double'. Chapter Four concentrates on the representations of the post-anni di piombo. It deals first with self-narratives of Italian political refugees in Paris and then with fictional or semi-fictionalized representations of 'dramatic encounters' between former activists, and between activists and their children. A short Afterword concludes on the principal findings and reflects on the methodology.
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Bambach, Nicholas D. "In The Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1461920895.

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Blaney-Laible, Lucy Lea. "Incomplete Resistance: Representations of Prostitutes and Prostitution in Contemporary Brazilian and Mexican Films." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/205212.

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Representations of prostitution are often used to negotiate changing meanings of gender and economy during times of turmoil. This dissertation examines the Brazilian films, O Céu de Suely (2006), Baixio das Bestas (2007) and Deserto Feliz (2008) and two Mexican films El Callejón de los Milagros (1995) and ¿Quién diablos es Juliette? (1996) to better understand how they deal with representations of prostitution in a rapid transition to neoliberalism. In order to better understand this process, I develop a concept called "incomplete resistance." This term connotes the practice of denouncement without indictment. That is, the existence of prostitution and the conditions that compel women to sell sex are lamented, but without identifying the real underlying causes. Additionally, several of the films examined in this dissertation decry the conditions that lead women to be prostituted, but simultaneously encourage the viewer to take pleasure in the process. By contextualizing the films within the changing film industries of Brazil and Mexico, I seek to illuminate the connections between gender, prostitution films and governmentality.
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Ward, Karla. "A depiction of the ghetto in feature film : a cinematic platform for confronting contemporary representations of ghetto occupancy." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8130.

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Includes bibliographical references (leaves 30-31).
The thesis film project, Mile in My Shoes, is a narrative depiction of a particular South African experience that consists of broader implications. It utilizes the ghetto/township setting to illustrate diverse, counter hegemonic depictions of black and especially black African characters, lifestyles, images, love, gender, and their position/focus in film.
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Fritsch-El, Alaoui Lalla Khadija. "Arab, Arab-American, American: Hegemonic and Contrapuntal Representations." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2005. http://nbn-resolving.de/urn:nbn:de:swb:14-1127973189644-22995.

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Arab, Arab-American, American: Hegemonic and Contrapuntal Representations, explores the US mainstream discourse on the Arabs in the 1990s in different cultural texts: academic, popular and media, including Hollywood. The project investigates how these representational practices participate in the reconfiguration of American public opinion vis-à-vis the Arabs. It also focuses on the ways in which the various discourses that produce or even invent the "Other" are undeniably linked to the local and global power relations associated with their specific locations. Inspired by Edward Said's contrapuntal methodology, Gayatri Spivak's anti-essentialist postcolonial critique, and Ella Shohat and Robert Stam's polycentric multiculturalism, the book also makes space to examine counter-narratives and Arab perspectives. Arab, Arab-American, American´s analysis of the representation of Arabs in the US dominant media and Hollywood unravels the limits of liberalism and the "vestigial thinking" of Eurocentrism, at the heart of which demonizing or patronizing Arabs is still the norm. The book also offers a rigourous analysis of US foreign policy in the Arab world and addresses both the reality of imperialism in relation to its enablers, and the economic terrorism of neoliberalism in its various linkages with Islamic fundamentalism.
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Van, Der Rede Lauren. "Reading representations of the African Child in select contemporary films." Thesis, University of the Western Cape, 2014. http://hdl.handle.net/11394/4288.

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Magister Artium - MA
Framed by theories of childhood, psychoanalysis, postcolonial theory, trauma theory, film theory, and literary theory, this thesis investigates representations of the African child in three contemporary films about Africa. This thesis puts forward the argument that in E. Zwick‘s Blood Diamond Dia, the film‘s primary child character, is split into Dia Vandy (his subjectivity) and See-me-no-more (his performed identity within the Revolutionary United Front). Furthermore it will be shown that this split is paralleled by the boy‘s transition from filiation to re-filiation. With regard to K. MacDonald‘s The Last King of Scotland, this thesis will demonstrate how, via the effects of cinematic doubling, the narrative antagonist Ugandan dictator Idi Amin Dada is represented as a child. It will also be illustrated that the narrative, consequently, perpetuates not only the myths surrounding Amin but the colonial myth that the savage is a child. Finally, this thesis will show that, of the tree texts, N. Blomkamp‘s District 9 boasts the most authentic representation of the African child and childhood in postcolonial Africa, albeit via a child figure that is literally alien. In each case study the child will be shown to be a liminal personae (Turner 1969), who is an ambiguous and often paradoxical figure who allows us to see more clearly the ethical tensions within the narrative. This thesis will also show that these texts may be considered socially aware trauma narratives, which are relatively critical of western involvement in the traumatic histories of African locales and peoples. Ironically though, these texts, and others similar to them, have been criticised for being Afropessimistic (Evans & Glenn 2010). The tension created by this paradox will be investigated during this thesis, which will attempt to establish to which extent these texts may be considered postcolonial, and whether or not they should be labelled Afropessimistic.
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Steel, Jayne. "Representations of the Provisional IRA in British film, fiction and the media, 1968-2000." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274254.

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Rothstein, Jeffrey. "The Apotheosis of Discontent: Representations of the Counterculture in 1960's Film and Television." Connect to online version at OhioLINK ETD Connect to online version at Digital.Maag, 1999. http://hdl.handle.net/1989/4795.

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