Dissertations / Theses: 'Star wars (Film cinématographique)'

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Cloutier, Caroline. "Le discours sur la ville dans les films d'anticipation." Master's thesis, Université Laval, 2003. http://hdl.handle.net/20.500.11794/28613.

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Johansson, Martin. "Bibeln: En Star Wars Saga : En hermeneutisk tolkning av kristna inslag inom Star Wars." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71616.

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Religious elements are not uncommon in the field of popular culture, especially regarding movies, and the Star Wars series have implemented all sorts of different religious themes and religious symbolisms, almost as a sort of religious melting pot. This work, however, seeks to isolate and focus on a singular religious tradition. This essay aims to examine if, and what kinds of Christian elements are present in the first Star Wars trilogy. To determine what kind of religious and Christian elements that are present in the source material, which consist of the three original Star Wars films, episode IV through VI. The films were analyzed by using a hermeneutic theory and method, which would allow an interpretation of elements in the films which later could be considered religious and directly Christian, by connecting them to direct and indirect connotations in the Bible and Christian theology like that of Martin Luther. The results of the analysis show a few different kinds of Christian elements to be found in the first three movies. The results consist of: Names and symbols, Christian thematic in scenes and three overarching themes, salvation, Luke Skywalker as a messiah’s character, and different interpretations of the Force. An example of the results is regarding Martin Luther and sola fide and how that connection can be made to Star Wars. In the scene where this connection is made, we see our protagonist Luke Skywalker, using faith, and faith alone do destroy the Death Star, thereby redeeming not only himself but also the rebel alliance, which in turn can be likened as a symbol for the resurrection of Christ.

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Fjällström, Robin. "Filmklipparens roll i Star Wars : Kraften i actionsekvenser." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-26303.

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Målet med denna studie är att undersöka om det finns några principer för hur actionsekvenser är klippta och om utvecklingen av ny klippteknik ändrat på sättet man klipper actionsekvenser i Star Wars eller om man arbetar för att behålla och återskapa samma emotionella klippkänsla som i de äldre filmerna. Studien är genomförd i form av två stycken analysmetoder, den första metoden bygger på Berry Salt's analysmetod för att få ut statistik över hur actionsekvenserna är klippta, genom att se hur många klipp det är i en sekvens och dela antal klipp med tiden som sekvensen utspelar sig under, på så sätt får man ut en så kallad "average shot lenght" (ASL). Den andra metoden är en bildanalys där jag undersöker hur man har arbetat med dramaturgin och informationen man ger publiken. Undersökningens ramverk bygger på Dancygers (2011) kriterier för en actionssekvens och det innebär i korthet att en actionsekvens ska innehålla identifikation, excitation, en konfilkt och intensifiering för att en actionsekvens ska räknas som en actionsekvens. Undersökningens resultat visar på att de actionsekvenser som ingått i studien skiljer sig åt. Men det finns en del genomgående principer som gäller samtliga sekvenser och de är att varje bild ska ge information om var man befinner sig, vad det är som händer och vad som kommer att hända i nästa bild. Ur min studie kan man se att sekvenserna skiljer sig i tid, antal klipp och hur lång ASL varje sekvens har. Med hjälp av klippningen ska man ge publiken den information som dem behöver för att förstå berättelsen som projiceras framför dom. Utgår man ifrån hur Star Wars filmerna är klippta i en bransch som utvecklats under 40 år, då ser man hur man använt sig av en liknande klippteknik för att fånga publikens uppmärksamhet, föra berättelsen framåt och ge publiken rätt information.

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Pukszta, Claire A. "Star Wars and Franchising: Emotional Ownership and Tensions in the Digital Age." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1257.

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This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally. The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise. Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.

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Söderman, Oscar. "Religion och Populärkultur : En hermeneutisk studie om religiösa inslag i Star Wars." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47791.

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Today’s popular culture often implement’s religious themes or religious symbolism. Popular culture shows a lot of interest in the conflict between good and evil and existential questions. As do most beliefs of today. How to analyze the way religion is presented and regarded in popular culture will always be grounded in the definition of religion itself. The definition is there to pinpoint exactly what one wishes to examine. The definitions do not try to explain what religion really is, but rather, try to pinpoint the very thing you want to analyze about religion. How you define it, defines the analysis. Star Wars is a phenomenon of popular culture which started out as a mere film series but consists today of toys, books and TV-series. Star Wars presents religion in form of a transcendental power of the universe known as The Force. Through the Force, Star Wars handle the conflict between good and evil, as the Force is used by both sides in different ways. You can also find the debate between the believer and the non-believer, in which Star Wars seems as an advocate of the believer, as it is through belief in something higher, rather than trust in technological progress, one can achieve victory. The analysis shows that the characters of Star Wars view belief in something higher as something positive and good. The Force works as something holy and many characters has a personal relationship to it. Star Wars also presents a clear good and evil, however it also proclaims a gray area in the hero of Luke Skywalker. To follow one’s own path seems to be something important to Star Wars.

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Stoppe, Sebastian. "John Williams’s Film Music in the Concert Halls." Brepols, 2018. https://ul.qucosa.de/id/qucosa%3A38210.

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Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why?

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Profitt, Blue Aslan Philip. "In Luke More Than Luke: Family Romance and Narcissism in the 'Star Wars' Saga." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555689565560614.

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Juan, Myriam. ""Aurons-nous un jour des stars ?" : une histoire culturelle de vedettariat cinématographique en France (1919-1940)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010705.

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Les vedettes de cinéma sont apparues entre la fin des années 1900 et le début des années 1910,mais c’est au lendemain de la Première Guerre mondiale, avec la création des premières publications spécialisées à destination du public, que le vedettariat cinématographique achève de se constituer en France. Envisageant le phénomène comme un système économique, social et culturel couvrant l’ensemble des domaines constitutifs du cinéma (de la production à la réception), cette thèse étudie la mise en place du vedettariat cinématographique français de 1919 à la défaite de juin 1940. La période débute sur le constat de la domination des films américains portés par le succès de leurs stars, qui contraste avec les difficultés du cinéma français auxquelles les contemporains associent un manque de rayonnement des vedettes. Vingt ans plus tard, la popularité de ces dernières est incontestable et leur rôle dans le fonctionnement de l’industrie cinématographique est devenu capital, suivant un modèle bien différent toutefois de celui en vigueur à Hollywood pour lequel perdure la fascination des Français. Entretemps, le cinéma muet a cédé la place au cinéma parlant, une évolution dont ce travail tente d’évaluer précisément l’impact sur le vedettariat. Dans la perspective d’une histoire culturelle du cinéma en France,confrontant la perception des systèmes étrangers et celle du système français, analysant les pratiques autant que les discours, ce sont ainsi les représentations et les enjeux dont est alors porteur le vedettariat cinématographique que cette recherche entreprend d’appréhender
Movie stars came into being at the end of the 1900s and the beginning of the 1910s, but it is notuntil the end of the First World War that the star system became a reality in France, thanks to the creation of the first fan magazines. Regarding the economic, social and cultural aspects of the phenomenon, which covers every area of the cinema (from production to reception), this thesis studies how the French star system was established between 1919 and the Fall of France in June1940. At the beginning of the period the American movies and their stars dominate in France; instark contrast, the difficulties of French cinema are related to the weakness of its stars – its“vedettes” as the French say. Twenty years later, French movie stars have become unquestionably popular and they play a key part in the film industry, although they are involved in a system very different from the Hollywood one, which still fascinates French people. In the middle of this period, there occurred the transition to sound, an evolution whose impact on thestar system this thesis tries to determine precisely. Thus, this research in cultural history compares the way the French system and its rivals are seen, and it analyses both discourses and practices in order to explain the representations and the issues related to the movie star system in France during the period

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Tedeman, Victor. "The Power of the Dark Side : Ondskans porträtterande i populärkultur." Thesis, Uppsala universitet, Teologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-301082.

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Yeloshyna, Natallia. "The New Collaborative Cinema: Fan Labor in Contemporary Film Franchises." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou161800816475422.

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Wälivaara, Josefine. "Dreams of a subversive future : sexuality, (hetero)normativity, and queer potential in science fiction film and television." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-62893.

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The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction. While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.

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Shepherd, Dustin L. "THE FUNCTIONALITY OF REBOOTS." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/580.

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This thesis attempts to better understand how film reboots empower fans by offering unique insight as critiques of the original texts and by displacing hierarchies amongst audience, critic, and author. My hypothesis is that reboots, as an act of adaptation, allow audience members of the original franchise to become authors, in this case screenwriters. By extension these screenwriters become critics by highlighting, expanding, or even disregarding themes found in the original film series. This complicates the reboot beyond a simple capitalistic venture to make money and invites us to consider the way they position and displace interactants to better foster critical engagement with works of art, specifically films.

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Hagan, Justice M. "Desert Enlightenment: Prophets and Prophecy in American Science Fiction." University of Dayton / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1366729757.

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Huvet, Chloé. "D’Un nouvel espoir (1977) à La revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20048.

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Fait unique dans l’histoire du cinéma, les partitions du gigantesque cycle dischronique qu’est la saga Star Wars, couvrant une période très étirée de vingt-huit ans, sont toutes de la main de John Williams. Cette constance compositionnelle devrait a priori faire des deux trilogies (1977-1983 et 1999-2005) un tout cohérent et unifié, d’autant que George Lucas envisage les six épisodes comme une seule et même entité. Pourtant, l’unité musicale de l’hexalogie et la signature musicale « starwarsienne » sont loin d’aller de soi, prenant la forme d’un idéal dénué de fondements solides réels.En adoptant une approche comparative transversale et en faisant varier différentes échelles d’analyse (épisode, trilogie, saga), la présente thèse a ainsi pour projet de montrer de quelles manières le matériau musical, les pratiques compositionnelles de Williams, mais aussi le traitement et l’intégration de la partition au sein du complexe audio-visuel font l’objet de profondes transformations entre les deux trilogies. Notre recherche interroge également dans quelle mesure et selon quelles modalités ces changements dans l’écriture musicale et l’utilisation de la partition dans les différents épisodes sont liés aux mutations des techniques cinématographiques, en particulier aux bouleversements dunumérique. Mettant à profit l’exploitation de sources manuscrites inédites et d’entretiens personnels réalisés auprès de l’orchestrateur principal de Williams, Conrad Pope, et de son music editor Kenneth Wannberg, notre travail met en oeuvre une interdisciplinarité affirmée au croisement de l’analyse musicale, de l’histoire du cinéma et des technologies
The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history

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Myhra, Håkon. "Mass-scenens Intertekstualitet : Mass-scener som intertekstuelt fenomen." Thesis, Karlstad University, Faculty of Arts and Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-619.

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The digital evolution in the film industry has opened possibilities that was only to blockbusters before the digital age. I am talking about mass-scenes. Huge scenes with hordes of people often in huge battlefields. This was earlier in film history an extremly costly undertaking for the filmindustry and was a major reason why the large studio systems in Hollywood collapsed in the 60s. Now we can enjoy large scale battles created with CGI without costly extras, costumes and props. It’s all made with the computer and with ’blue screen’ technology. Is it possible to track the mass-scene back to some sort of origin or at least to who that defined the mass-scene ? If we look closer at mass-scenes used in contemporary movies then a clear pattern often emerges. These scenes can often be traced back to especially two propaganda films from the late 30s. Triumph des Willens by Leni Riefenstahl and Alexander Nevsky by Sergei M. Eisenstein. Of course there are others, but these two stands out from the others regarding mass-scenes. My opinion is that these two classic propaganda films have defined the mass-scenes as we have come to see and understand them in many comtemporary films from Star Wars to Lord Of The Rings.

In this thesis I will try to explore the usage of mass-scenes in comtemporary films and hopefully uncover the strong intertextual ties to Triumph des Willens and Alexander Nevsky.

I will also attempt to define the mass-scene and it’s usage in contemporary film.

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Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.

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Böhme, Claudia. "Mediating Science Fiction Film through Translation and Commentary: The Star Wars Episode 'Attack of the Clones' in Kiswahili." 2018. https://ul.qucosa.de/id/qucosa%3A35329.

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The mediation of foreign films for Swahili audiences is an established cultural and linguistic practice in Tanzania that combines translation with commentary and story-telling. It helps audiences make sense of films whose original language and cultural background are unfamiliar to them. Today, an industry has grown around translated foreign films of all genres and from all regions. The practice also makes genres accessible that are still under-represented in Tanzanian film production, such as science fiction. The genre’s depiction of a futuristic, technically advanced and strange world presents a challenge to commentators. Through the analysis of a particular episode of the Star Wars saga, I show how the commentator acts as an ethnodramaturg, who through translation, re-narration and intertextual reference explains and re-enacts the strange cultural universe of the source film and brings it closer to the audience.

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Bezuidenhout, Franscois Johannes Thomas. "Music as brand, with reference to the film music of John Towner Williams (with particular emphasis on Williams's 'Main Title' for Star Wars)." Thesis, 2009. http://hdl.handle.net/10539/7041.

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In contemporary consumer culture, branding is the term given to the creation of an image or text (visual, aural, textural or multi-sensory) intended to represent a commodity or product sold by a producer or service provider. This product’s commercial viability depends largely on the way it is presented (via branding) to its target market. The aim of this research report is to show that music used consciously as a branding medium, with special reference to film music (in its commodified form), has become a brand in itself, as opposed to merely a component of a multi-modal commercial product. Through analyses of a central film music theme from Star Wars: Episode IV, composed by John Williams, I aim to identify what I will term `audio-branding techniques’ within the music, thereby showing how music has come to be regarded as a brand. The audio branding techniques will relate directly to the four levels of analysis that I propose to conduct. The nature of branding implies the presence of three entities in the cultural and commercial `transaction’ that takes place: namely, the service provider (creator), the product (commodity) and the target market (consumer). I intend to argue that, as a result of powerful creative collaborations between John Williams and his various directors (not to mention his own unique talent), this composer’s film music has increasingly become an audio brand which is almost commensurate with the brand status of the film itself. Williams’s ability to create a symbiotic relationship between a music brand and that of a film has set him apart from most other contemporary art and commercial composers. As a result, it is not simply the actors, directors and producers associated with a movie that induce one to buy tickets to see it, but Williams’s independent audio branding style as well. I thus aim to prove that his film music is an audio brand independent of, and yet also allied with, other brands.

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Huvet, Chloé. "D’Un nouvel espoir (1977) à La Revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars." Thèse, 2017. http://hdl.handle.net/1866/20076.

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Belval, Sébastien. "Étude d’inspiration néo-riemannienne des structures harmoniques et scalaires d’extraits musicaux du film The Empire Strikes Back." Thèse, 2016. http://hdl.handle.net/1866/19566.

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Ce mémoire a reçu l'appui financier du Fonds de recherche du Québec – Société et culture (FRQSC).
Ce mémoire porte sur la musique composée par John Towner Williams (1932- ) pour le film The Empire Strikes Back (1980). Il se limite à la musique extradiégétique, c’est-à-dire celle dont l’origine se situe à l’extérieur du monde fictionnel dans lequel prend place le récit du film. Ce répertoire présente l’intérêt de suivre le modèle classique hollywoodien, où la trame musicale est étroitement associée au déroulement narratif. L’étude propose une analyse de l’organisation des hauteurs musicales (accords, couches à l’intérieur d’une texture stratifiée) et cherche à élucider son impact narratif au sein d’une sélection de scènes. Plutôt que de s’appuyer sur des outils traditionnels propres aux approches tonale fonctionnelle ou schenkérienne, l’analyse s’inspire des théories néo-riemanniennes se traduisant par l’usage des transformations ainsi que des Tonnetz. Ceux-ci sont employés dans leur rôle usuel, mais également comme représentations d’espaces harmoniques pouvant englober des ensembles plus vastes que de simples enchainements d’accords. Ils peuvent par exemple illustrer des motifs ou encore le rapport entre les différentes couches qui composent une texture stratifiée. Cela permet d’aborder le déploiement d’un matériau musical selon l’axe diatonique, hexatonique ou octatonique d’un Tonnetz. De plus, la récurrence de certaines transformations suggère des espaces harmoniques qui contribuent à l’identité des matériaux thématiques au même titre que l’orchestration ou l’usage d’échelles données. Finalement, ce type de trame musicale étant ponctué de fréquentes ruptures et changements, sa construction est considérée à travers de multiples déplacements entre des espaces harmoniques.
This thesis is centered on John Towner Williams’s (b. 1932) music composed for the movie Star Wars: Episode V - The Empire Strikes Back (1980). It concentrates on extra-diegetic music, that is, music that originates outside the fictional world where the story takes place. The interest for this repertoire originates in its conception, which is based on classical Hollywood film scores, specifically in its high degree of correspondence with narrative content. This study proposes an analysis of pitch organization (chords, strata in a multi-layer texture) and seeks to establish the narrative connections that the music maintains with the image throughout selected scenes. Rather than relying on traditional tools drawn from functional or Schenkerian approaches, here analysis borrows from the theoretical method of Neo-Riemannian theories such as transformations and Tonnetz. These are used in a conventional way, but also as representations of harmonic spaces capable of encompassing broader musical events aside from simple triadic progressions. For example, they may represent motives, or the connections between the different strata comprised in a layered texture. This allows musical material to unfold through the diatonic, hexatonic or octatonic axis from the Tonnetz. Furthermore, the reiteration of particular transformations suggests harmonic spaces that establish the identity of thematic material in a way similar to that of orchestration or scales. Finally, because this type of soundtrack is punctuated by frequent breaks and changes, we will consider its construction throughout multiples shifts between harmonic spaces.

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Dissertations / Theses on the topic 'Star wars (Film cinématographique)'

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