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Mechar, Kyle William. "The cultural logic of dis-ease : difference andas displacement in popular discourses of the AIDS crisis." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23229.
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This thesis investigates the cultural and social production of AIDS in popular discourse, particularly film and mass media, and offers a critical consideration of the ways in which the proliferation and dispersion of these discourses function in our current episteme to rearticulate and reinscribe traditional value systems of sexuality, familialism, and nationalism. Taking the lead of the work of Michel Foucault on the body in various historical regimes, the author here will posit a theoretical analysis of the "discursive formation" of AIDS, how the body of AIDS is put into discourse, to provide a matrix for establishing the various disciplinary and regulatory apparatuses structuring the epidemic--that is, the affirmation of certain kinds of pleasures and bodies and the strategic circumvention of other pleasures and bodies. Under what the author refers to as the cultural logic of dis-ease, the investigations that follow will be animated by the central question: Whose pleasure and/or power is served by these representations and discourses of the body of AIDS in popular cultural practices?
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Campbell, Robin Rhodes. "Images of ethnicity in pornography." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/695.
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Zhang, Bing. "Avatar in China : a cyber-audience discourse analysis perspective." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525516.
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Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.
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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.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 implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
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Law, Yuk-wa, and 羅玉華. "On time and festivity: a study of Chinese newyear films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.
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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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Montgomery, Michael Vincent. "Bakhtin's chronotope and the rhetoric of Hollywood film." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185758.
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This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.
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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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Croy, William Glen, and n/a. "The role of film in destination decision-making." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080404.155622.
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The purpose of this research is to create a method and measure the influence of fictional film media in potential tourists� destination decision-making, using a quasi-experimental method. Film tourism researchers have implied that film plays a direct role in generating tourism. In this research, however, it is proposed that film plays an indirect role through the construction of meaning of place, and therefore destination awareness, availability and evaluation.
A two-part multiphase quasi-experimental method was created and implemented to identify change in a destination�s image due to watching a film. Part One. was qualitative in nature and implemented to discover destination image attributes (evaluative components and decision-making factors) used in destination selection (survey n=202, in-depth interviews n=10). Part One concluded with the compilation of a list of relevant, clear and efficient attributes for Part Two. The list maintained sufficient diversity to define destination image, and was composed of 21 decision-making factors and 40 evaluative components. Part Two then measured the destination�s image, and change in that image due to watching a feature film (pre and post survey n=67). Change in this quasi-experimental method was assessed by the importance of the attributes being measured, the influence of the film on these attributes and most importantly the combined effect of the film on these attributes.
The Vertical Ray of the Sun, a film set in Vietnam, was used to apply and test this innovative quasi-experimental method. The application assessed not only the effect of the film on Vietnam�s image, but also the applicability of the method. The film positively influenced the respondents� image of Vietnam. The film had a measured effect on more than half of the attributes. That noted, the actual number of attributes affected to the marked level were 17 out of 61 for the difference in means and only 11 for the eta� value. Consequently, whilst the film positively affected the image of Vietnam, most of the attributes still needed significant change to modify tourism demand.
The thesis importantly contributed to the study of destination image methodologically by asserting the need to assess the importance, influence and effect. This new method can and should be implemented to assess and monitor the effects of many events. This research also contributed by introducing a quasi-experimental cumulative importance-influence measure of effect. The contribution was highlighted in that those attributes with a large influence did not always have a large effect on the destination�s image. Neither performance by itself, nor importance by itself, can be used as a final effect measure.
Finally, this research supports other film-induced tourism studies: film does influence destination image. As presented in more recent studies film-tourism is more likely to be an incidental experience than a reason to visit a place. These more recent studies too may underplay the role of film by focusing on film as an attraction or activity, rather than its role in the actual decision to visit. This research has contributed to film tourism research by highlighting that film can still play a role in the decision-making process, even though it may not be an attraction or a desired experience in itself.
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Fourie, Elizabeth. "The representation of materialist consumerism in film." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/954.
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People are constantly bombarded with the latest technology, the latest fashion, the latest ‘must have’ item. We are encouraged to buy things that promise to change our lives and give us satisfaction or even create happiness. Interestingly we often succumb to the temptation of these material things, which is not always a negative reaction; however it does become negative when our lives are controlled by material possessions and we give up certain aspects of who we are to enable us to obtain these possessions. Further more it becomes problematic when we start to rely on material possessions to define us in terms of our identity or to help us fit into particular groups within society. With the media playing such a large role in societies at present it is almost inevitable that the phenomenon of materialist consumerism will make its way into the media. The media however holds control, to an extent, over whether or not materialist consumerism is viewed in a negative or affirmative light. An analysis of the representation of materialist consumerism in selected instances of mainstream cinema will be the aim of my proposed study. The study will look at the representation of materialist consumerism in so far as it offers viewers a place to ‘fit’ into a particular group within society. The group I am referring to can be categorised as the upper-middle class of contemporary western society. I have thus selected films that represent this group specifically. For the purpose of the treatise ‘materialist consumerism’ is understood as a way of life, or alternatively, an ideology, which assumes that the accumulation of material wealth through consumption imparts meaning to human lives. The treatise will analyse both sides of the coin, or in other words films that support or promote materialist consumerism and those that either revolt against or criticise this form of consumerism. The study will explore different aspects of consumerism in so far as these are represented in the films, with an identifiable axiological bias.
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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
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Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.
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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.
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Walsh, Lau Man Yee Eliza, and 劉敏儀. "In search of identity: Hong Kong as seen through its cinema from the 1950s to the early 1980s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213728.
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Roesch, Stefan, and n/a. "There and back again - comparative case studies of film location tourists� on-site behaviour and experiences." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080211.090920.
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Over the last decade, film location tourism has been established as a niche segment in the tourism industry. While this niche has attracted attention from both researchers and marketers alike, not much knowledge has been accumulated about the tourist encounter itself. It is the main purpose of this thesis to research on-site behavioural and experiential aspects of the film location encounter.
For the overall research design, an inductive, comparative case-study approach was implemented. Three cases were selected for this research: The Lord of the Rings locations in New Zealand, The Sound of Music locations in Austria and Star Wars locations in Tunisia. The applied methods are participant observation, image-based data and semi-structured interviews. The data collection was conducted while participating in organised film location tows in order to secure access to the informants.
The first fundamental outcome of this research is that there is no 'film location tourist' as such. People who travel to film locations come from different socio-economic backgrounds, comprise all age groups and possess varying degrees of fandom. The majority of film location tourists, however, have one thing in common, regardless of the underlying movie genre: the longing to connect with the imaginary world of the film by visiting the physical and thus 'real' location places. These places are consumed in two ways: as places of spectacle and as sacred places.
The nature of the location consumption is dependent on a number of factors, including the degree of fandom of the consumers, the attractiveness of the encountered locations, the consistency of the interpretive community, the amount and nature of external distortions and, if applicable, the structure of the location tour. Means of consumption of film locations as spectacle are formal posing, sight recordings and shot re-creations. When experiencing film locations as sacred places, shot re-creations, mental simulations and filmic re-enactments occur. The latter form of consumption can result in a symbiosis between the imaginary and the real place component: the gazing subject becomes the previously (photographed) object.
Regardless of the degree of experiential satisfaction, film location tourists want to bring some of the magic back home. This is achieved not only via mental pictures and physical photographs, but also through souvenirs. These can be off- or on-site. Regarding the latter, these souvenirs are almost holy relics, brought home from a successful pilgrimage and subsequently framed and displayed in an altar-like fashion. The benefits from this are not only self-pride and satisfaction, but also the distinction to other movie fans who have not been able to do the journey themselves. Thus, the person in possession of such a relic gains privileged status amongst peers which in turn raises the satisfaction with the location encounter.
The film location experience cycle comes to a full closure by re-watching the movie. This procedure involves a renewed connection to both the imaginary filmic places as well as the real locations visited. The filmic gaze is extended, as the movie scenes are now seen as part of a real place which extends beyond the filmic sight.
Keywords: Film location tourism - multiple, comparative on-site case study inquiry - film locations as spatial and temporal constructs - the film location tourist encounter - behavioural and experiential interactions with place.
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Chéné, Johanne. "La représentation de la femme dans des films québécois mettant en scène les années 1900 à 1950." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26050.pdf.
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Cheung, Ting-yan, and 張婷欣. "Reading beyond "Happily Ever After": refiguring the Disney narrative of femininity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36403465.
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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 meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.
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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.
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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.
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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
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Wong, Yu-bon Nicholas, and 黃裕邦. "The pomobody: body parts, desire and fetishism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39707507.
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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.
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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.
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Barbara, Kathleen M. "The post-modern body in cinema." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t044.pdf.
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Welch, Mark, University of Western Sydney, and Faculty of Nursing and Health Studies. "Reel madness : the representation of madness in popular western film." THESIS_FNHS_XXX_Welch_M.xml, 1997. http://handle.uws.edu.au:8081/1959.7/705.
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This thesis considers the representation of madness in popular film, in the main from the Western canon and English speaking, and argues that madness is seen and represented as an extreme of human experience, a form of Otherness, which throws into relief notions of ontology, sanity and personal and cultural identity. It progresses from a consideration of the historical representations of madness and sanity in art and literature to a review of the pertinent literature on cinema and representation, and uses seminal examples from throughout cinematic history mostly from English language films, from 1906-1996, to illustrate the argument. Alternative methodological approaches are considered for the insights they may provide, and also for the contribution they make to the development of the thesis, in particular the influence of semiotics. A number of stereotypical portrayals of madness, such as the 'mad scientist', the 'crazed murderer', and the 'doomed heroic outsider' are examined in detail. Finally, the thesis proposes the way madness, and mad people, are represented in popular film is reflective and indicative of social and cultural concerns over what can be known, how identity can be established and what it means to live in the contemporary world fraught with uncertainty, anxiety and changeDoctor of Philosophy (Hons)
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Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.
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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.
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Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
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Bahmad, Jamal. "Casablanca belongs to us : globalisation, everyday life and postcolonial subjectivity in Moroccan cinema since the 1990s." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/19847.
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This dissertation examines the representations of Casablanca in Moroccan cinema and their articulation of postcolonial subjectivity since the 1990s. To overcome a deep economic recession and simmering social unrest in the early 1980s, Morocco embarked on a comprehensive programme of structural adjustment policies under the aegis of the International Monetary Fund. Market reforms ushered in novel forms of spatial development and social relations in Moroccan cities over the next decades. In the cultural field, a popular cinema emerged in the early 1990s and has projected the complex structures of everyday life in urban space. The New Urban Cinema (NUC) has anchored national cinema in the everyday life and affective economy of a society in transition. The country’s largest city, Casablanca, is the setting for some of NUC’s most original portrayals of the Moroccan subject under globalisation. Taking space, affect and violence as intertwined sites of film analysis, my research project closely examines the new forms of postcolonial subjectivity that have evolved in Morocco through this cinema. Twenty films are read against the backdrop of neoliberal Casablanca and the social, economic as well as political transformation of Morocco and the world under globalisation. The dissertation combines close textual analysis with a cultural studies perspective, which situates films in their historical contexts of production and reception in Morocco and beyond. Drawing on postcolonial, film and urban studies, my aim is to contribute to interdisciplinary scholarship on cinematic responses to neoliberal globalisation, and to a social history of contemporary Morocco.
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陳振國 and Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.
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Maltère, Hugues. "The socio-political dimension of film noir." Thesis, Virginia Tech, 1992. http://hdl.handle.net/10919/44231.
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After World War II, Hollywood produced a series of low budget pictures characterized by a dark mood, bleak urban landscapes and fierce violence. French critics called them films noirs (black films). These movies presented a critical vision of the social injustice present in the American capitalist society. This thesis examines the socio-political dimension of film noir firstly through its social, literary and filmic origins, then through a piecework study of shots and dialogues from six noir pictures: Body and Soul (1947), Force of Evil (1948), Knock On Any Door (1949), Kiss of Death (1947), I Walk Alone(1948) and The Set-up (1949). It is shown how the Marxist convictions of their makers influenced their style and their content. Even films noirs made by apolitical or moderate filmmakers follow a similar pattern. It is concluded that film noir contains expressions of anti-capitalist struggle toward social justice and moral redemption. The appeal of these ideas to many Americans is shown by the box-office success of these pictures, while many noir writers, actors and directors were the victims of the reactionary repression of the early fifties.
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Shen, Jin. "On translation of swearwords from English to Chinese : a case study on subtitling Terminator I-IV." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525845.
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Cevik, Senem Bahar. "Impact of media spokeswomen on teen girls' body image." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2801.
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This project investigated body image issues of girls aged 13-19 years old. It surveyed a random sample of 100 girls via a self-administered questionnaire. The study found that most teen girls have a celebrity actor idol and that the majority of teen girls are self conscious regarding body shape and weight.
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Leme, Caroline Gomes 1986. "Cinema e sociedade = sobre a ditadura militar no Brasil." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281781.
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Orientador: Marcelo Siqueira RidentiAcompanhado de 2 DVDs: Cenas compiladas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: De 1979 aos dias atuais, a ditadura militar fez-se presente em um número significativo de obras fílmicas. Analisar essa produção cinematográfica é examinar como está sendo ressignificado o passado, quais questões estão sendo obliteradas, que ambiguidades e tensões perpassam a interpretação do processo sócio-histórico. Esta pesquisa propõe-se a trabalhar a relação entre cinema e sociedade no que tange aos enunciados social e culturalmente construídos a respeito do período do regime militar vigente no Brasil de 1964 a 1985. O objeto de investigação são os filmes de longametragem lançados entre 1979 e 2009 que se reportam ao tema da Ditadura Militar no Brasil e seus desdobramentos. O pressuposto é o de que as obras fílmicas, enquanto produções culturais, podem ser consideradas meios legítimos e diferenciados para o conhecimento da sociedade, uma vez que são constitutivas da realidade social, produzindo significados, valores e proposições expressados através de sua construção própria. Pauta-se na concepção de cultura do materialismo cultural de Raymond Williams (2000) e fundamenta-se essencialmente no referencial teórico-metodológico de Pierre Sorlin (1985,1994). Realiza-se um levantamento amplo e fundamentado da filmografia que tematiza a ditadura militar brasileira e dedica-se um olhar mais atento aos seguintes filmes: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980); Nunca fomos tão felizes (Murilo Salles, 1984); Corpo em delito (Nuno Cesar Abreu, 1990); Ação entre amigos (Beto Brant, 1998); A terceira morte de Joaquim Bolívar (Flávio Cândido, 2000) e Zuzu Angel (Sérgio Rezende, 2006), os quais correspondem a um espectro amplo de possibilidades cinematográficas.
Abstract: From 1979 to today, the military dictatorship has been theme of a significant number of movies. Analyze this filmography is to examine how the past has been reframed, what aspects are being obliterated, what are ambiguities and tensions that underlie the interpretation of socio-historical process. This research proposes to study the relationship between cinema and society with respect to the socially and culturally constructed enunciations about the period of military rule in Brazil (1964-1985). The object of investigation are the feature-length films released between 1979 and 2009 that relate to the theme of military dictatorship in Brazil. It is assumed that the movies, as cultural productions, can be considered legitimate and differentiated sources for investigate the society, since they are constitutive of social reality and produce meanings, values and propositions expressed by its own construction. It is guided in the concept of culture from Raymond Williams (2000)'s cultural materialism and is based essentially on Pierre Sorlin (1985, 1994)'s theoretical and methodological framework. It is done a broad and grounded survey of the filmography that deals with the Brazilian military dictatorship and is dedicated a closer attention to the following films: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980);
Mestrado
Sociologia
Mestre em Sociologia
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Jozajtis, Krzysztof. "Religion and film in American culture : the birth of a nation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/1501.
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This research addresses an emerging scholarship examining relations between media, religion, and culture in contemporary society. Whilst it acknowledges the value of this growing body of work, the study is based on a recognition that an overwhelming concern with the contemporary scene has resulted in a neglect of the history responsible for the conditions of the present. Given the prominence of America as both a source and an object of this scholarship, moreover, the particular national context in which the institutions and practices of the US media have developed has been taken for granted somewhat. Oriented towards these perceived lacunae, this thesis examines the interaction between religion and film as an influence upon the development of American culture in the twentieth-century. The dissertation is divided into two main parts. The first of these is devoted to an extended discussion of the scholarly background to the research, and argues that the historical dimension of the interrelationship between religion and film in America is worthy of more attention than it has hitherto received. In particular, it stresses the fundamental importance of religion within the discourse of national identity in the United States, and posits the notion of a non-denominational American civil religion as a useful theoretical tool with which to examine Hollywood as a distinctively 'American' form of cinema. Part Two develops this position through a case study of The Birth of a Nation, directed by D.W. Griffith, and one of the most famous films of all time. Discussing the picture as a response to a crisis in American Protestantism, the study argues that the race controversy prompted by its Southern viewpoint was, to some extent, a function of Griffith's ambitions to revive the traditional religious bases of U.S. national identity via the medium of film. Furthermore, it suggests that the impact of Birth helped enact a broader transformation of American culture, wherein the cinema became instrumental in sustaining the belief that the United States was a nation uniquely favoured by Providence.
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Castro, Wesley Pereira de. "Interstícios da pornochanchada brasileira : relações ambíguas entre a vendabilidade e contestação política nos filmes produzidos pela Boca do Lixo na primeira metade da década de 1980." Pós-Graduação em Comunicação, 2014. https://ri.ufs.br/handle/riufs/4032.
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The dissertative work here presented have as objective bring to academic light some questions with great interest to researchers in Communication that are hunched at elementary questions of the brazilian cinema, crossed by a perennial stage of underdevelopment, as alleged by the film critic Paulo Emílio Salles Gomes. The focus of this research is the set of movies produced in the paulistan region of Boca do Lixo [ Mouth of Trash ], precisely between the years of 1980 and 1985, when the filmmakers established in there demarcate some traces of authorship vinculated to a production model quite particular, but those were progressively extincted by the massive introduction of the movies with explicit sexual content during the politic reopening of Brazil, what, in fact, culminated in the definitive decay of the region, today designed by the even more demeritorious nickname of Cracolândia [ Crackland ]. If, in the 1960 s, the regional quadrilateral baptized by the policeman as Boca do Lixo (because of the criminal activities, predominately related to prostitution) received attention in to host some important productive cinema enterprises of the country including Cinedistri, that, in 1962, was proud to produce the winner of the International Cinema Festival of Cannes, O Pagador de Promessas (directed by Anselmo Duarte) in the first half of the 1980 s, the careers of the film directors that have been consolidated after the well-succeeded cicle of the pornochanchadas were both threatened by the inclement pursuit of the militar censorship and biased press of the period as the porn requirements arising from the penetration of foreign cinematographies. The strategies found by these filmmakers of the Boca do Lixo in order to maintain their stylistic trademarks and, at same time, obey for the obligations for saleability and affiliating themselves to the contestatory cries of the period is what was intended to scan in this research.O trabalho dissertativo ora apresentado tem como objetivo trazer à luz acadêmica algumas questões de sumo interesse para os comunicólogos que se debruçam sobre as contradições elementares do cinema brasileiro, atravessado por um traço perene de subdesenvolvimento, conforme alegou o crítico Paulo Emílio Salles Gomes. O foco da pesquisa é o cinema produzido na região paulistana da Boca do Lixo, precisamente entre os anos de 1980 e 1985, quando os cineastas lá estabelecidos haviam conseguido fixar algumas marcas autorais atreladas a um modelo de produção deveras particular, autoralidade que foi progressivamente extinta pela introdução massiva dos filmes de sexo explícito durante a reabertura política do Brasil, o que, de fato, culminou na decadência definitiva da região, hoje conhecida pelo apelido ainda mais demeritório de Cracolândia. Se, desde o final da década de 1960, o quadrilátero regional batizado pelos policiais de Boca do Lixo por causa do sobejo de atividades criminais (predominantemente relacionadas à prostituição) se destacava por sediar algumas importantes empresas produtoras de cinema do país inclusive, a Cinedistri, que, em 1962, orgulhou-se de ter produzido o vencedor da Palma de Ouro no Festival Internacional de Cinema de Cannes, O Pagador de Promessas (dirigido por Anselmo Duarte) na primeira metade da década de 1980, as carreiras dos diretores que se consolidaram a partir do ciclo comercialmente bem-sucedido das pornochanchadas foram ameaçadas tanto pela perseguição inclemente da censura militar e da imprensa preconceituosa do período quanto pelas exigências cada vez mais impositivas dos ditames pornográficos advindos da penetração de cinematografias estrangeiras. As estratégias encontradas pelos cineastas da Boca do Lixo para resguardarem seus traços estilísticos ao mesmo tempo em que atendiam às obrigações por vendabilidade e filiavam-se aos clamores contestatórios do período é o que se tentou perscrutar nesta pesquisa.
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Ernst, Priscila. "Cinema e ensino: a produção de cinema de animação para o ensino de ciências por meio do enfoque Ciência, Tecnologia e Sociedade (CTS)." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2723.
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Acompanha: Guia didático: cine animação na escolaEste trabalho apresenta a análise e os resultados de um estudo desenvolvido com alunos de uma turma de 7º ano de um colégio estadual público de São João do Triunfo - PR, Brasil, em relação ao tema Cinema e Ensino. O objetivo da pesquisa foi verificar as contribuições de se ensinar Ciências (conteúdo de vírus e bactérias) em um enfoque CTS - Ciência, Tecnologia e Sociedade; visando a Alfabetização Científica e Tecnológica - ACT, utilizando como estratégia didática a produção de Cinema de Animação com a técnica Stop Motion. O Stop Motion é um processo de animação onde é feita a captação de fotograma a fotograma, usando uma máquina fotográfica e uma fonte de luz. A abordagem metodológica foi qualitativa de natureza descritiva com observação participante. Durante o estudo os alunos e a professora de Ciências da turma, participaram de aulas de Ciências com enfoque CTS, pesquisas sobre os temas abordados e oficinas de produção dos vídeos. Os alunos criaram personagens a partir de materiais como massa de modelar, desenhos, recortes de revistas e pequenos objetos, para dar vida e movimento nas animações. Os principais autores que fundamentam esse estudo são: Lorenzetti (2000), Gowdak; Martins (2015), Bazzo (2014), Silveira (2005), Santos e Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) e Duarte (2009). Ao final do estudo, observou-se que a pesquisa trouxe contribuições para a Educação em Ciências e a promoção da Alfabetização Científica e Tecnológica. Os alunos demostraram mais segurança para falar sobre o tema abordado, mostrando interesse e motivação. Também se percebeu que os alunos analisaram os assuntos discutidos durante as aulas de Ciências de forma mais crítica, fazendo questionamentos e relacionando o conteúdo estudado com suas próprias vidas. Os estudantes se preocuparam com questões como: o surgimento das vacinas, as doenças negligenciadas no país, bactérias na produção de plástico, alimentos que ajudam na imunidade do corpo, entre outros assuntos de relevância para o processo de reflexão e desenvolvimento do senso crítico dos mesmos.
This paper presents the results the study developed with students of the secondary education in a group of the 7th grade of a public school in São João do Triunfo - PR, Brazil, in relation to the theme Cinema and Teaching. The aim of of the research was to verify the contributions of teaching Science (content virus and bacteria) in a STS approach - Science, Technology and Society, aiming at the Scientific and Technological Literacy, using as a didactic strategy the production of Animation Cinema with the Stop Motion technique. Stop Motion is an animation process where frame-by-frame capture is performed using a camera and a light source. The methodological approach was qualitative of a descriptive nature with participant observation. During the study the students and the classroom science teacher participated in science classes with a STS approach, Research on the topics covered and workshops for the production of videos.The students created characters from materials like modeling mass, drawings, magazine clippings and small objects, to give life and movement in the animations.The main authors that base this study are: Lorenzetti (2000), Gowdak, Martins (2015), Bazzo (2014), Silveira (2005), Santos and Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) and Duarte (2009). At the end of the study, it was observed that the research brought contributions to Science Education and the promotion of Scientific and Technological Literacy. The students demonstrated more confidence to talk about the topic addressed, showing interest and motivation. It was also noticed that the students analyzed the subjects discussed during the science classes in a more critical way, questioning and relating the content studied with their own lives. Students are concerned with issues such as: the emergence of vaccines, diseases neglected in the country, bacteria in the production of plastic, foods that help immunity of the body, among other issues of relevance to the process of reflection and development of the critical sense of the same.
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Alp, Erin Elif. "Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship." Thesis, 2016. https://doi.org/10.7916/D89K49RS.
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This dissertation asks how the structure of moral authority and media viewership in America has changed over the course of the 20th century. In order to address this question, I examine the ways in which American films are, and have been, labeled inappropriate or appropriate for public viewership. I ask how censorship, regulation and rating systems work to create and manage moral ambiguity, and what types of ramifications moral ambiguity is thought to have on viewers. I also address the types of problems associated with American cinema over time, and propose several analytical dimensions to capture and unpack the processes of censoring cinema. This framework is built on the notions of filth and moral ambiguity, moral repercussion, a process of responsibilization, and the telos for cinema, all of which influences how an organization interacts with movies and morality. In lapses of symmetry between on- and off-screen worlds, moral ambiguity arises in ways that responsibilize either content controllers or audiences themselves. I show the links between these articulations and how the moral repercussions of exposure to cinema are defined. I also argue that where in the past moral ambiguity was commonly perceived as a dangerous aspect of cinema, especially by censors and Hollywood film production regulators, contemporary movie raters present a film’s moral ambiguity as a resource to the viewer. Moral ambiguity, if probed the right way, can lead to greater awareness of one’s moral boundaries, enabling viewers to effectively censor their viewership practices themselves. Greater responsibility of the viewer is also linked with more transparency and less rigid definitions of filth, moral repercussion, and the overall purpose of media consumption. Censoring cinema was a way in which state censors attempted to shape a “good” civil society, but the notion of how such a society might be achieved through media shifted over the 20th century. By examining the work of Hollywood’s Production Code Authority, New York State censors, pioneering sociologists and educators of the 1930s, the Film Estimate Board of National Organization’s monthly film classification decisions, and contemporary movie ratings at Common Sense Media, I develop several sub-arguments that support the larger argument that moral ambiguity has become a resource as opposed to a danger. In doing so, I expose the connections between the efforts of earlier censors and industry regulators to contemporary constructions of moral authenticity in movie reviews, and highlight in particular the responsibilization of parental audiences. To date, parents are charged not only with monitoring what their children watch, but also with instilling critical viewing skills among their children. This contrasts with previous content control techniques, wherein parents were responsibilized to make decisions for their children but were not expected to foster any specific values or skills in them, and earlier techniques, wherein parents were not responsibilized at all. I end by noting that the contemporary approach to pollution management relies on two conflicting discourses, which have influenced strategies to managing media morality throughout the 20th century. The first focuses on media research and its alleged effects on social behavior, the second on free and intelligent choices by children consumers themselves – but as this dissertation also exemplifies, both registers have echoes in earlier sites and examples of cinematic censorship and efforts to clean the screen.
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"中國電影的政經分析 (1979-1994)." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895568.
Full textAbstract:
薛婷.論文(碩士) -- 香港中文大學硏究院傳播學部, 1995.
附參考文獻.
Xue Ting.
Chapter 第一章 --- 引言
Chapter 1. --- 硏究背景 --- p.1
Chapter 2. --- 硏究方法 --- p.2
Chapter 3. --- 論文結構 --- p.2
Chapter 第二章 --- 理論依據
Chapter 1 . --- 政治經濟學 --- p.4
Chapter 2. --- 媒體的政治經濟學 --- p.11
Chapter 3 . --- 理論的啓示 --- p.18
Chapter 第三章 --- 中國的政經環境和媒體的關係
Chapter 1 . --- 中國政治經濟互動關係的運作背景 --- p.20
Chapter 2 . --- 中國政治經濟和媒體作爲政治宣傳工具的轉變 --- p.28
Chapter 3 . --- 分析架構硏究方法 --- p.31
Chapter 第四章 --- 中國電影的本質、管理體制和思想指導
Chapter 1 . --- 中國電影本質的歷史發展 --- p.36
Chapter 2 . --- 電影的管理體制和指導思想 --- p.43
Chapter 第五章 --- 中國電影的發展和互動
Chapter 1. --- 電影事業的槪況 --- p.52
Chapter 2 . --- 政經互動和電影發展的歷史關係 --- p.59
Chapter 3. --- 電影事業的矛盾論 --- p.78
Chapter 4 . --- 小結：政治´ؤ電影發展的重擔 --- p.91
Chapter 第六章 --- 北京電影制片廠--個案硏究
Chapter 1. --- 系統內尋求適應的組織 --- p.96
Chapter 2. --- 硏究假設和方法 --- p.97
Chapter 3. --- 政經環境變化和北京電影廠的發展 --- p.100
Chapter 4. --- 小結 --- p.134
Chapter 第七章 --- 總結和討論
Chapter 1. --- 電影事業自主權和組織變化 --- p.139
Chapter 2. --- 電影事業發展和政府控制 --- p.140
Chapter 3. --- 矛盾中尋求平衡的電影事業 --- p.142
Chapter 4. --- 硏究啓示 --- p.144
附表二 ： 電影類型編碼定義
附表二 ： 北京電影制片廠電影生產年表(1979-1994)
參考書目
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"Social reality as reconstructed in Chinese cinema under Deng Xiaoping." Chinese University of Hong Kong, 1986. http://library.cuhk.edu.hk/record=b5885640.
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"Exhibitors' shadow land: a study on how movie-exhibitors in China restructure movie-going activity." 1997. http://library.cuhk.edu.hk/record=b5889099.
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by Chu Lui.Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 351-354).
ABSTRACT --- p.ii-iv
ACKNOWLEDGEMENT --- p.v
LIST OF FIGURES --- p.vi-vii
LIST OF ILLUSTRATIONS --- p.viii
CHAPTERS
Chapter PART I --- Introduction --- p.1
Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30
Chapter 2 --- Approaches from existing film studies --- p.31
Chapter 3 --- Structuration: social practices and social structure --- p.49
Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73
Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91
Chapter PART III --- The reflector's self-reflection --- p.105
Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109
Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127
Chapter PART IV --- Redefing what cinema is --- p.149
Chapter 8 --- Confusion over a simple matter --- p.150
Chapter 9 --- Delineating a new landscape of the cinema --- p.165
Chapter 10 --- "In name, in language, in ""affairs""" --- p.195
Chapter PART V --- Redefining what movie-viewing is --- p.224
Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225
Chapter 12 --- Reconstructing movie-viewing space --- p.249
Chapter 13 --- Reconstructing movie-viewing time --- p.281
Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303
REFERENCES --- p.351
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"SomeThing (un)desirable: serial killers in selected contemporary bestsellers and films." 1999. http://library.cuhk.edu.hk/record=b5889924.
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by Wan, Rosa.Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 118-127).
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.v
Acknowledgments --- p.vi
Chapter Chapter One --- Introduction: The Empire of the Serial Killers --- p.1
Chapter Chapter Two --- Stereotyping in Serial Killer Movies and Bestsellers --- p.26
Chapter Chapter Three --- Inter-serial-textuality --- p.68
Chapter Chapter Four --- Controversies --- p.103
Conclusion --- p.113
Works Cited --- p.118
Appendix --- p.128
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Bhrugubanda, Uma Maheswari. "Genealogies of the Citizen-Devotee: Popular Cinema, Religion and Politics in South India." Thesis, 2011. https://doi.org/10.7916/D8ZS33KN.
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This dissertation is a genealogical study of the intersections between popular cinema, popular religion and politics in South India. It proceeds with a particular focus on the discursive field of Telugu cinema as well as religion and politics in the state of Andhra Pradesh from roughly the 1950s to the 2000s. By discursive field of cinema, I refer to not only filmic texts, but also disciplines of film making, practices of publicity, modes of film criticism as well as practices of viewership all of which are an inalienable part of the institution of cinema. Telugu cinema continued to produce mythological and devotional films based mostly on Hindu myths and legends many decades after they ceased to be major genres in Hindi and many other Indian languages. This was initially seen simply as an example of the insufficiently modernized and secularized nature of the South Indian public, and of the enduring nature of Indian religiosity. However, these films acquired an even greater notoriety later. In 1982, N.T. Rama Rao, a film star who starred in the roles of Hindu gods like Rama and Krishna in many mythologicals set up a political party, contested and won elections, and became the Chief Minister of the state, all in the space of a year. For many political and social commentators this whirlwind success could only be explained by the power of his cinematic image as god and hero! The films thus came to be seen as major contributing factors in the unusual and undesirable alliance between cinema, religion and politics. This dissertation does not seek to refute the links between these different fields; on the contrary it argues that the cinema is a highly influential and popular cultural institution in India and as such plays a very significant role in mediating both popular religion and politics. Hence, we need a fuller critical exploration of the intersections and overlaps between these realms that we normally think ought to exist in independent spheres. This dissertation contributes to such an exploration. A central argument this dissertation makes is about the production of the figure of the citizen-devotee through cinema and other media discourses. Through the use of this hyphenated word, citizen-devotee, this study points to the mutual and fundamental imbrication of the two ideas and concepts. In our times, the citizen and devotee do not and cannot exist as independent figures but necessarily contaminate each other. On the one hand, the citizen-devotee formulation indicates that the citizen ideal is always traversed by, and shot through with other formations of subjectivity that inflect it in significant ways. On the other hand, it points to the incontrovertible fact that in modern liberal democracies, it is impossible to simply be a devotee (bhakta) where one's allegiance is only to a particular faith or mode of being. On the contrary, willingly or unwillingly one is enmeshed in the discourse of rights and duties, subjected to the governance of the state, the politics of identity and the logics of majority and minority and so on. Religion as we know it today is itself the product of an encounter with modern rationalities of power and the modern media. Hence, we cannot simply talk about the citizen or the devotee, but only of the modern hybrid formation, the citizen-devotee. The first full length study of the Telugu mythological and devotional films, this dissertation combines a historical account of Telugu cinema with an anthropology of film making and viewership practices. It draws on film and media theory to foreground the specificity of these technologies and the new kind of publics they create. Anthropological theories of religion, secularism and the formation of embodied and affective subjects are combined with political theories of citizenship and governmentality to complicate our understanding of the overlapping formations of film spectators, citizens and devotees.
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"Culture and modernization in the Hong Kong new wave movement: a culture industry perspective." 2005. http://library.cuhk.edu.hk/record=b5896449.
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Chan, Siu-han.Thesis submitted in: July 2004.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 184-193).
Abstracts in English and Chinese.
ABSTRACT --- p.i
論文摘要 --- p.ii
ACKNOWLEDGEMENTS --- p.iii
CONTENTS --- p.v
INTRODUCTION
Chapter 1.1 --- Empirical Puzzles and Theoretical Concern --- p.1
Chapter 1.2 --- The Cultural Scene in Hong Kong --- p.5
Chapter 1.3 --- Defining the New Wave Cinema --- p.8
Chapter 1.4 --- The Objectives of the Thesis --- p.12
Chapter Chapter 2 --- In Quest of Theoretical Perspective and Analytical Framework
Chapter 2.1 --- Existing Studies of the New Wave Cinema --- p.13
Chapter 2.2 --- The Study of Popular Culture in Hong Kong --- p.21
Chapter 2.3 --- Culture Industry: The Approach of the Frankfurt School --- p.28
Chapter 2.4 --- The Elective Affinity of Culture Industry with Hong Kong Society --- p.33
Chapter 2.5 --- Analytical Framework --- p.36
Chapter Chapter 3 --- The Anxiety of Political Subjectivity
Chapter 3.1 --- Prelude --- p.45
Chapter 3.2 --- The Perturbed Hong Kong People --- p.50
Chapter 3.3 --- The Hong Kong Diaspora --- p.57
Chapter 3.4 --- The Negative Projection on the Colonizers --- p.60
Chapter 3.5 --- The Ambivalence Towards the Motherland´ؤChina --- p.66
Chapter 3.6 --- Discourse on Political Modernization: The Anxiety of Political Subjectivity --- p.86
Chapter Chapter 4 --- The Contradiction of Societal Modernization
Chapter 4.1 --- Prelude --- p.89
Chapter 4.2 --- Looking back at the Pre-modernized Social Order --- p.91
Chapter 4.3 --- Rethinking the Entanglement of the Old and the New --- p.102
Chapter 4.4 --- Representing the Modernized New Social Order --- p.110
Chapter 4.5 --- Discourse on Societal Modernization: The Contradiction of Societal Modernization --- p.123
Chapter Chapter 5 --- The Fragility of Hong Kong Cultural Identity
Chapter 5.1 --- Prelude --- p.126
Chapter 5.2 --- Historical Memories as Cultural Receptacles --- p.128
Chapter 5.3 --- The Spatialized Cultural Consciousness --- p.136
Chapter 5.4 --- Urbanism as the Quality of Hong Kong society --- p.144
Chapter 5.5 --- The Chinese Tradition in Present Day Hong Kong --- p.151
Chapter 5.6 --- The Hybridized Everyday Popular Culture --- p.157
Chapter 5.7 --- Discourse on Cultural Modernization: The Fragility of Hong Kong Cultural Identity --- p.164
CONCLUSION
Chapter 6.1 --- The Planned Tragic Vision in Culture Industry --- p.167
Chapter 6.2 --- The Aestheticization of Social Reality in Culture Industry --- p.171
Chapter 6.3 --- The Demise of the New Wave Cinema in Hong Kong Culture Industry --- p.178
New Wave Cinema: A Listing --- p.182
REFERERNCES --- p.184
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Aguayo, Angela Jean. "Documentary film/video and social change: a rhetorical investigation of dissent." Thesis, 2005. http://hdl.handle.net/2152/2232.
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Mills, Jane Kathryn, University of Western Sydney, College of Arts, and School of Humanities and Languages. "Hollywood and its others : porous borders and creative tensions in the transnational screenscape." 2007. http://handle.uws.edu.au:8081/1959.7/19823.
Full textAbstract:
This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.Doctor of Philosophy (PhD)
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Comninos, Nicola. "Recollect: home video and the autobiographical self." Thesis, 2015. http://hdl.handle.net/10539/19895.
Full textAbstract:
A thesis submitted to the Faculty of Arts, University of the
Witwatersrand, Johannesburg, in fulfilment of the
requirements for the degree of Doctor of Philosophy.
Johannesburg, 2015This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa
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"Domestication of the cultural icon: Chow Yun Fat : from subversion to domination." 2002. http://library.cuhk.edu.hk/record=b5896018.
Full textAbstract:
Tam Wai Wan Vivian.Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 231-233).
Abstracts in English and Chinese.
Chapter 1 --- Orientation to Domestication --- p.1
Chapter ´Ø --- Literature Review and Methodology --- p.6
Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7
Chapter ´Ø --- Textual Analysis and Interview --- p.13
Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19
Chapter 2 --- Introduction to the Four Discourses --- p.40
Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46
Chapter 4 --- Domesticating Chow on TV Ads --- p.62
Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83
Chapter 6 --- Overview to Reception Analysis --- p.105
Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114
Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114
Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127
Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141
Chapter ´Ø --- Colonizing the Secure Working Class --- p.151
Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158
Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168
Chapter 10 --- Conclusion --- p.192
Appendix 1: Sample of Interview Questions --- p.197
Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198
Appendix 3: Chow Yun-fat's Filmography --- p.229
Bibliography --- p.231
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Fruth, Bryan Ray. "Media reception, sexual identity, and public space." Thesis, 2007. http://hdl.handle.net/2152/3214.
Full text
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Espert, Yasmine. "The Cinema of Social Dreamers: Artists and Their Imaginations Return to the Caribbean." Thesis, 2020. https://doi.org/10.7916/d8-ak8z-pm38.
Full textAbstract:
Happiness, ritual, and sovereignty are artists’ persistent aspirations in the African- and Afro-Asian diasporas. “The Cinema of Social Dreamers” explores why the dreamscape is increasingly becoming the creative form for the expression of these social ambitions. This dissertation particularly spotlights the award-winning films and new media projects that exploit the dreamscape aesthetic in contemporary Caribbean and diasporic art. My analysis focuses on this tropical region, as well as its transnational impact in Canada, Mexico, France, the United Kingdom, and the United States. Central to this manuscript are the artists Mariette Monpierre, Michelle Mohabeer, and Minia Biabiany. I specifically engage their questions of happiness, spirituality, sexuality, and sovereignty in the wake of colonialism. The range of the narrative media these artists employ—from installation art and new media to sensational melodramas—also evidences the richness of the contemporary moment. While their award-winning works have flourished in niche film festivals and at fine art institutions, “The Cinema of Social Dreamers” is the first to present them as the subject of deep comparative analysis. By placing the Caribbean archipelago at the center of my work, I also highlight that the economy of art-making (and art history) remains a complex interdisciplinary, multilingual, and transnational project.
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Katz, Jacqueline Lee. "Queer entanglements: postcolonial intimacies, spaces and times in Greyson and Lewis's Proteus (2003)." Thesis, 2016. http://hdl.handle.net/10539/20800.
Full textAbstract:
A dissertation submitted to the Faculty of Humanities, University of the
Witwatersrand, in fulfillment of the requirements for the Degree of
Master of Art in Dramatic ArtsMy dissertation presents a textual analysis of John Greyson and Jack Lewis's South African film, Proteus (2003), which is based on archival records and plots the never-before-told narrative of an intimacy between two inmates on 16th century Robben Island. Locating this same-sex intimacy in the 1700s Cape Colony has far-reaching implications when considered in relation to the increasingly pervasive twenty-first century discourse which proposes that homosexuality is necessarily 'unAfrican'. The film's social and political commentary is, therefore, significant for how we might think about sexuality, among other subjectivities, in post-apartheid South Africa. By analysing the film's formal and thematic attributes, I demonstrate that the directors' protean approach to filmmaking has queering effects for the linear notion of time and the cohesive conceptualisation of identity that the colonial archive tends to reinforce. I suggest that commonsense notions of time, space, language and identity that structure the archive have allowed for multiple fissures to develop along the trajectory from past to present. As I show, the aforementioned process has almost effaced from official records narratives, such as the one told in Proteus, that would trouble totalising ideas about the intimate orientations of certain individuals. Therefore, I argue that while the record of this same-sex intimacy does appear in the archive, it has been subsumed by other, more dominant, narratives. The film's work, which I replicate in my reading of it, has been to queer this archive by foregrounding what has historically been repressed. In my first chapter, I argue that by enacting what Halberstam (2005) terms a mode of 'queer temporality', Proteus carves out spaces in the archive for alternative renditions of history to come into visibility in ways that demand fluidity and heterogeneity. I propose that the strategic filmic mechanisms employed in Proteus necessarily engender nuanced spectatorial procedures, which call on the spectator to engage reflexively with the film. I continue to argue for the spectator's need to be particularly reflexive throughout the dissertation. My second chapter deals with the filmmakers' strategic use of language in order to present a commentary on the material effects that the acts of 'naming' and 'categorising' have on living bodies. The final chapter explores a critical perspective which has not previously been brought to bear on the film. I examine how Greyson and Lewis construct positions for their main characters from which they may assert their subjectivity - what Mirzoeff (2011) describes as 'the right to look'.
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"白話之聲: 白話現代性與1930年代的中國聲片文化." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075096.
Full textAbstract:
In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films.In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le).
In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films.
The dissertation has three main sections.
This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history.
魏萍.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (p. 262-267).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Wei Ping.