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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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Sousa, Marco António Couto. "Star Wars: escape to myth." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9734.
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Mestrado em Estudos InglesesEsta tese propõe-se a procurar explicações para a popularidade da saga de filmes levando em linha de conta o contexto cultural e histórico no qual A Guerra das Estrelas encontrou a sua génese. Desde os primeiros anos de vida do mentor da saga, George Lucas, fontes de inspiração para a série de filmes são exploradas, e ligações são estabelecidas com outros objectos culturais previamente existentes ou posteriores à saga. Premissa central a esta tese é a de que A Guerra das Estrelas veicula, por parte do seu autor uma leitura alternativa à história recente dos Estados Unidos, particularmente à participação norte-americana na guerra do Vietnam. O caminho proposto foi o do Mito como fator regenerador. Seguindo a uma abordagem teórica relativa ao contributo de diferentes disciplinas para o estudo do Mito tais como antropologia, história, psicologia, religião, semiologia ou sociologia; é abordada a forma como são endereçadas política e ideologia na saga de filmes. Uma análise relativa ao género cinematográfico, tendo em consideração a fluidez do conceito, ajuda a identificar a saga de filmes como transcendendo género, englobando elementos relativos à ficção-científica, ao Western ou mesmo à telenovela. O derradeiro capítulo discrimina personagens arquetípicas (heróis, vilões e mentores) que fortalecem o argumento de que a saga de filmes alcançou o estatuto de mito na sociedade contemporânea.
This thesis aims to search for explanations for the popularity of the saga of films taking into consideration the cultural and historical background in which Star Wars had its genesis. From the early years in the life of its creator, George Lucas, sources of inspiration for the space opera are explored, and connections to other previously exiting or posterior cultural objects are made. Central to this thesis is also the idea that Star Wars elicits on behalf of its creator an alternative reading of recent American history, particularly of the Vietnam War. The route proposed was that of Myth as a significant healing factor. Following a theoretical approach to the contribution of different subjects to the study of Myth such as anthropology, history, psychology, religion, semiology or sociology; the way ideology and politics are addressed in the Star Wars saga are the focus of attention and study. An analysis of film genre, bearing in mind the fluidity of the concept, helps to identify this saga of films as transcending genre, encompassing elements from science-fiction, to the Western or even soap opera. The final chapter discriminates archetypal characters (heroes, villains, mentors) who are consistent with the argument that the saga of films has itself achieved the status of influential myth in contemporary society.
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Vikström, Alexander. "Hjälteresan i två generationer av Star Wars." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27075.
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Syftet med denna uppsats är att utföra en jämförande strukturanalys samt utforska hjältekaraktärernas motivation och moral i filmerna Star Wars: Episode IV – A New Hope samt dess uppföljare Star Wars: Episode VII – The Force Awakens. Metoden som används har utformats från Christopher Voglers omarbetade version av Joseph Campbells hjälteresa. Resultatet av analysen visar på flera likheter i strukturen av filmerna samt hjältarnas motivation och moral. Uppföljaren använder dock en medvetenhet om de liknelser som den drar och lyckas därmed skapa en egen unik historia som vävs samman med de redan existerande elementen från originalet.
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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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Ferraraz, Junior Claudio. "Star Wars: um estudo sobre o universo da franquia cinematográfica." Universidade Federal de São Carlos, 2012. https://repositorio.ufscar.br/handle/ufscar/5607.
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Previous issue date: 2012-11-30Financiadora de Estudos e Projetos
The major media conglomerates consolidated from the 1980s invest heavily on franchises captained by blockbusters movies and a wide range of products derived from them, in search of larger profits in the worldwide entertainment market. This study aims to analyze the marketing characteristics of franchises produced by major media conglomerates. In intend to do so, notes and appointments are made on the Star Wars film franchise, referred to as a kind of genesis for the franchise business model that the entertainment industry practices today. Star Wars created a paradigm in the production process of the Hollywood studios, combining filmic creativity with product marketing practices for disclosure and especially the development of strategic marketing licensing and merchandising of products that carry its brand. Through the analysis of the narrative structure of the Star Wars movies, creative tools used in the development of the story and its characters are identified showing possible paths for creating extensions and sequences that allow the expansion of several derived products across multiple platforms, building the media franchise.
Os grandes conglomerados de mídia, consolidados a partir da década de 1980, investem pesadamente em franquias capitaneadas por filmes blockbusters e uma vasta gama de produtos deles derivados, na busca de lucros cada vez maiores no mercado do entretenimento mundial. Este trabalho tem por objetivo analisar as características mercadológicas das franquias produzidas pelos grandes conglomerados de mídia, tendo como objeto de estudo e apontamentos a franquia cinematográfica Star Wars, referenciada como uma espécie de gênese para o modelo de negócio de franquias que a indústria do entretenimento pratica hoje. Star Wars criou um paradigma no processo produtivo dos estúdios de Hollywood, unindo a criatividade do produto fílmico com as práticas de marketing para sua divulgação e, principalmente, o desenvolvimento de estratégicas mercadológicas de licenciamento e de merchandising dos produtos que levam sua marca. Por meio da análise da estrutura narrativa dos filmes de Star Wars, são identificadas ferramentas que, utilizadas no desenvolvimento da história e de seus personagens, possibilitam caminhos para a criação de extensões e sequências na expansão dos vários produtos derivados, em diversas plataformas, na construção da franquia de mídia.
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Simpson, Dava L. "Stormtroopers Among Us: Star Wars Costuming, Connection, and Civic Engagement." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001569.
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Frighetto, Gianandrea <1992>. "Star Wars analisi storica, economica e culturale della saga cinematografica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16492.
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La tesi prende in considerazione la creazione e lo sviluppo completo della saga di Star Wars, con un’approfondita analisi cinematografica, scenografica e strutturale delle prime due trilogie, seguita dall’illustrazione e spiegazione dell’universo espanso che si è formato in seguito ai film.
Il lavoro si concentra anche sulla Lucasfilm Inc., società creatrice e proprietaria del marchio, analizzandone la nascita, i principali protagonisti e le innovazioni che questa realtà ha introdotto nel mondo hollywoodiano.
Lo studio prosegue sulle motivazioni che hanno portato la saga ad un successo mondiale nel corso di un intero trentennio e che hanno permesso la costituzione di un marchio economicamente e socialmente influente. Si considera infine la recente acquisizione da parte della Disney, con lo sviluppo di una nuova trilogia e la continuazione del Mondo creato da George Lucas.
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Mastrocola, Vicente Martin. "Comunicação, Consumo e entretenimento: o interator na ficção seriada Star Wars." Associação Escola Superior de Propaganda e Marketing, 2011. http://tede2.espm.br/handle/tede/99.
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Previous issue date: 2011-03-22This project delimitates the concept of transmedia storytelling: a kind of narrative which develops into multiple mediatic platforms, such as internet, books, videogames, comics, television, cinema etc., examining the use of strategy in the entertainment industry and understanding how the consume and communication strategies materialize in this scenario. The object of this project is: to examine the strategic appropriation of transmediatic narratives in the industry of entertainment; to study the systematic use of multiple platforms on the biggest mediatic series worldwide, using an established example in the industry of entertainment: the Star Wars fiction series. Finally, we will investigate the participation of a digital social network in the consolidation of the success of this series through user-generated (interactor) content and distribution. It is used in this project a multimethodological approach wherein will be highlighted a netnographic character observation, following interactors among diverse social networks and digital platforms where they are found.
Neste projeto, procura-se examinar as narrativas transmidiáticas: um tipo de narrativa que se desdobra em múltiplas plataformas midiáticas, como internet, livros, videogames, quadrinhos, televisão, cinema etc., analisando sua utilização estratégica na indústria de entretenimento e visando compreender como se materializam as estratégias de comunicação e consumo nesse cenário. Pretende-se, com este trabalho: cartografar a apropriação estratégica de narrativas transmidiáticas na indústria do entretenimento; estudar a utilização sistemática de múltiplas plataformas nas grandes séries midiáticas de âmbito global, servindo-se de um exemplo consagrado da indústria do entretenimento: a ficção seriada Star Wars. Por fim, investiga-se a participação de uma rede social digital na consolidação do sucesso desta série por meio da distribuição e geração de conteúdo do usuário (interator). Utiliza-se neste projeto uma abordagem multimetodológica em que se destaca uma observação de caráter netnográfico na internet acompanhando os interatores nas diversas redes sociais e plataformas digitais onde se encontram.
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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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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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Dahlberg, Tobias. "May the Force be with you : -Filmrecensenters upplevelser av Star Wars visuella effekter." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-48232.
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PRESCOTT, JOHANNES, and OINONEN TOBIAS WIKLUND. "Konstruktion av sfärisk robot med bihang : Inspirerad av BB-8 från Star Wars." Thesis, KTH, Skolan för industriell teknik och management (ITM), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279789.
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Syftet med arbetet bakom den här rapporten var att bygga en fungerande konstruktion för en sfäriskt formad robot med ett externt bihang, likt roboten BB-8 från Star Wars filmerna. Bihanget, eller ”huvudet”, var menat att förbli förbunden med sfären då denne sattes i rullning utan att falla av under rörelsens gång. Efter undersökning av tidigare konstruktioner av sfäriska robotar valdes en princip för sfärens drivsystem som modifierades utefter projektets mål och begränsningar. Drivsystemet som konstruerades är fristående från sfären och bygger på att få sfären att rulla enligt samma princip som en springande hamster i ett hamsterhjul. Med två DCmotorer och omni-hjul drivs enheten via en mikrokontroller som gjorts styrbar via Bluetooth. I drivsystemet sitter en mast med magneter som möjliggör förband med huvudet genom sfären. Efter en analyseringsprocess som byggde på trial-and-error blev resultatet en fungerande konstruktion vars funktion var starkt beroende av viktfördelning, acceleration, sfärens ytjämnhet samt åkytans underlag.The purpose of the work behind this thesis was to build a working structure for a spherically shaped robot with an appendage added to the sphere, much like the popular Star Wars character BB-8. The appendage, or ”head”, was meant to remain connected to the sphere when the sphere was set in motion without falling off during the course of the movement. After examining previous designs of spherical robots, a principle was chosen for the sphere’s drive system, which was modified according to the project’s goals and limitations. The drive system that was designed is independent of the sphere and is based on getting the sphere to roll according to the same principle as a running hamster in a hamster wheel. With two DC-motors and omni-wheels, the unit is powered by a microcontroller made controllable via Bluetooth. The drive system houses a mast with magnets that enable connection with the head through the sphere. Following an analysis process based on trial-and-error, the result became a functioning design whose function was strongly dependent on weight distribution, acceleration, the sphere’s surface evenness and the surface of the ride.
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Carpenter, Sarah Gerina. "Narratives of a Fall: Star Wars Fan Fiction Writers Interpret Anakin Skywalker's Story." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11989.
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viii, 94 p.My thesis examines Star Wars fan fiction about Anakin Skywalker posted on the popular blogging platform LiveJournal. I investigate the folkloric qualities of such posts and analyze the ways in which fans through narrative generate systems of meaning, engage in performative expressions of gender identity, resistance, and festival, and create transformative works within the present cultural milieu. My method has been to follow the posts of several Star Wars fans on LiveJournal who are active in posting fan fiction and who frequently respond to one another's posts, thereby creating a network of community interaction. I find that fans construct systems of meaning through complex interactions with a network of cultural sources, that each posting involves multiple layers of performance, and that these works frequently act as parody, critique, and commentary on not just the official materials but on the cultural climate that produced and has been influenced by them.
Committee in charge: Dr. Dianne Dugaw, Chair; Dr. Lisa Gilman, Member; Dr. Debra Merskin, Member
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Wall, Johanna, and Marie Molin. ""Alla killar måste inte gilla Star Wars" : Fri lek ur ett genusperspektiv i förskoleklass." Thesis, Högskolan i Borås, Institutionen för Pedagogik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17525.
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BakgrundDet framgår av tidigare forskning att flickor och pojkar tydligt delas in efter traditionella könsmönster. I leken ges barn möjlighet till tillfällen att överskrida de traditionella könsmönstren och bilda sig en egen identitet. Det finns satta normer i samhället att följa och dessa framgår tydligt för individen. Många gånger kan detta vara svårt då omgivning, media, pedagoger och samhälle påverkar till ett bevarande av dessa mönster. Även barnen själva vet till vilken kategori, flicka respektive pojke de tillhör och anpassar sig efter detta. I Lgr 11 (2011) framgår det att skolan skall motverka traditionella könsmönster och därmed skall flickor och pojkar ges samma möjligheter i den fria leken oavsett kön.SyfteSyftet med uppsatsen är att undersöka hur flickor och pojkar leker och kommunicerar under den fria leken inomhus i förskoleklass utifrån ett könsperspektiv.MetodVår studie baserades på en kvalitativ studie med hjälp av metodverktyget observation. Observationerna var av ostrukturerad karaktär och visade prov på hur flickor och pojkar agerade i den fria leken. Observationerna genomfördes enskilt i tre olika förskoleklasser detta för att kunna få möjlighet att se likheter och skillnader som uppstod i leken.ResultatResultatet visar att flickor och pojkar i stor utsträckning håller sig till de könsmönster som finns i samhället i sina val av lekar. De barn som visar tendenser att överskrida de satta könsmönstren tillrättavisas snabbt av de övriga barnen. I två av våra observationer visar flickorna tendens till att dra sig undan då pojkarna antar lekar av en mer våldsam karaktär. Däremot leker pojkarna lekar på flickornas villkor i lekar med familjekaraktär. Barnen tar tydligt på sig olika roller som exempelvis djur eller en omhändertagande roll i den fria leken.Program: Lärarutbildningen
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Forsberg, Johan. "The controversy of Star Wars: Battlefront 2 and the influencers that fueled the fire." Thesis, Stockholms universitet, JMK, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165566.
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Brännström, Olsson Frida. "Bibeln i en galax långt, långt borta. : Star Wars som transmutation av Jesu frestelse." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-180119.
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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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Botha, Jacqueline. "The myth is with us : Star Wars, Jung's archetypes, and the journey of the mythic hero." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019/506.
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Rodrigues, Sheila Darcy Antonio. "A literatura como parte de uma narrativa transmidiática: uma viagem ao sistema literário de Star Wars." Universidade Presbiteriana Mackenzie, 2018. http://tede.mackenzie.br/jspui/handle/tede/3538.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Fundo Mackenzie de Pesquisa
When we thinking about the production of the contemporary literature we can notice that a considerable part of the new releases, mainly those coming from the Unites States of America market, are part of great projects of the entertainment industry. Some of these projects may be called according to what was proposed by the researcher Henry Jenkins of transmedia storytelling and they are those types in which it is expanded the way of telling a story for the use of the most different types of existing media. One of the most successful cases of this kind of transmedia storytelling, which may even be considered a paradigm for this type of narrative is the case of Star Wars saga. Started in the year of 1976 with the release of Star Wars: from the adventures of Luke Skywalker, this saga have been developed for years and still is in the active. It has turned into a complex universe of films, cartoons, comics, ga mes and countless books that help to narrate the most diverses adventures, that happen in a galaxy, far, far away. Considering that the today revenue of the Star Wars saga is around fourty billion dollars and that of this amount, approximately, three billion dollars had came from the commercialization of books, it becomes interesting and necessary to investigate and to understand why there is the interest in a literature production, linked to this type of narrative, as well as to seek the knowledge of how to think about projects that are part of the entertainment industry, which encompass different media, and among them the literary media and that can become a success of audience.
Ao se pensar sobre produção literária contemporânea, pode-se observar que uma considerável parcela dos novos lançamentos, principalmente dos provenientes do mercado norte americano, fazem parte de grandes projetos da indústria do entretenimento. Alguns desses projetos podem ser denominados, de acordo com o proposto pelo pesquisador Henry Jenkins, de narrativas transmidiáticas (transmedia storytelling) e eles são aqueles nos quais se busca expandir a forma de se contar uma história para a utilização dos mais distintos tipos de mídias existentes. Um dos casos de maior sucesso desse tipo de narrativa transmidiática, que pode, até mesmo, ser considerado um paradigma para esse tipo de narrativa, é o da saga Star Wars. Iniciada em 1976 com o lançamento do livro Star Wars: from the adventures of Luke Skywalker, essa saga, desenvolvida durante anos e ainda na ativa, se transformou em um complexo universo do qual fazem parte filmes, desenhos animados, histórias em quadrinho, jogos e inúmeros livros que ajudam a narrar as mais diversas aventuras, que se passam em uma galáxia tão, tão distante. Considerando-se que hoje o faturamento da saga Star Wars se encontre em torno de quarenta bilhões de dólares e que deste montante quase três bilhões de dólares são provenientes da comercialização de livros, torna-se interessante e necessário que se busque pesquisar e compreender o porquê do interesse por uma produção de literatura, atrelada a esse tipo de narrativa, bem como buscar o conhecimento de como se pensar em projetos para a indústria do entretenimento, que englobem distintas mídias, e dentre elas a literária e que possam se converter em sucesso de público.
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Alessi, Filippo <1989>. ""Il valore del brand e il marketing non convenzionale nel settore cinematografico: il caso Star Wars"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4944.
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Nel seguente elaborato si discuteranno le strategie di trasferimento del valore della marca e le tattiche di marketing non convenzionale, utilizzate dalle aziende operanti nel settore cinematografico.
Nel primo capitolo si farà riferimento al valore della marca e alla capacità dell’impresa di trasferire questo valore ad altri prodotti o servizi, non necessariamente culturali. Oltre a questo si enunceranno le diverse strategie di comunicazione che l’impresa può utilizzare, concentrandosi maggiormente sulle tecniche non convenzionali di marketing, che puntano ad aumentare maggiormente la brand awereness nella mente del consumatore post-moderno.
Il secondo capitolo analizzerà la situazione del settore cinematografico, con maggiore enfasi per il mercato italiano, europeo e soprattutto per quello statunitense. L'osservazione spazierà dalla storia all’analisi di settore che descrive le fonti di finanziamento per il settore, alla vendita e distribuzione del prodotto finito.
Arrivati al terzo capitolo, si combineranno i soggetti delle analisi precedenti, discutendo nello specifico delle tecniche di marketing convenzionale e non convenzionale utilizzate dalle aziende nel settore del cinema, oltre alle strategie di valorizzazione della marca e di ampliamento del ritorno sugli investimenti tramite i mercati ancillari, sempre in riguardo ad un’opera cinematografica.
All’interno del quarto ed ultimo capitolo dell’elaborato si porteranno alla luce dei chiari esempi che permetteranno di confermare le ipotesi precedentemente sostenute. In ultima istanza si cercherà di provare che con una buona strategia di valorizzazione della marca e soprattutto un maggiore utilizzo delle tecniche non convenzionali di marketing, un’azienda nel settore cinematografico potrebbe ottenere risultati stupefacenti, molto più che nel caso in cui si utilizzino solamente tecniche convenzionali e classiche di promozione.
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Willander, Martin. "KOTOR- en narratologisk smältdegel : En analys av berättarstrukturen i datorspelet Star wars: Knights Of The Old Republic." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2648.
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Blake, Duncan. "The laws of Star Wars-the need for a 'manual of international law applicable to space warfare'." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121467.
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Today there are over 1,000 active satellites in orbit and the number of States directly involved in launching or operating satellites has increased substantially since the dawn of the space age. Even States that have no direct involvement in launching or operating satellites rely heavily on such space infrastructure: for television, radio, banking, communications, transport, agriculture, mining, and especially for modern military services. Yet, those same satellites are under increasing threat from 100,000s of pieces of space debris and the actual or potential proliferation of weapons and other means capable of destroying or disrupting satellites. There is also increasing competition for use of the limited radio frequency spectrum that is essential for the operation of such satellites. Concurrently, there are a range of factors unsettling global security generally and the dominance of the US and Europe specifically. The proliferation of nuclear weapons and ballistic missiles, as their means of delivery, is a significant concern. Ballistic missiles have a trajectory through space and ballistic missile defence also rely on space-based infrastructure. Financial and other constraints have made global powers more inward-looking, less likely to deploy forces globally, except through the sort of 'remote reach' capabilities that rely on space infrastructure for their effectiveness (such as uninhabited aerial vehicles and cyber warfare). So space-based infrastructure is a key element in global security, yet it is also increasingly vulnerable to the threats described above – including space weapons. Warfare in space is becoming a real possibility. Outer space is not, though, a new, wild and lawless frontier. There is a legal framework of growing complexity. However, the treaties specific to the space domain, as well as recent initiatives to augment those treaties, barely contemplate warfare. The law of war is applicable to the space domain and potentially provides a comprehensive set of norms of State behaviour that restrains the recourse to force by States in the space domain. There is considerable uncertainty about how particular rules of the laws of war apply to the space domain. It would be in the strategic interests of all States to have a clear and authoritative statement on how the rules of the law of war apply to the space domain. The question is how to achieve such a clear and authoritative statement. Useful analogies can be found in the process and success of the San Remo Manual on International Law Applicable to Armed Conflict at Sea, the Harvard Manual on International Law Applicable to Air and Missile Warfare and the Tallinn Manual on International Law Applicable to Cyber Warfare. These manuals have been drafted by globally-recognised legal and technical experts in each domain expressing personal opinions on the lex lata. They have avoided many of the challenges of State negotiations on similar topics, yet the manuals have had a significant impact in each of their domains. There now needs to be a 'Manual of International Law Applicable to Space Warfare'.Aujourd'hui, il ya d'autres 1.000 satellites actifs en orbite et le nombre d'États directement impliqués dans le lancement ou l'exploitation de satellites a augmenté considérablement depuis l'aube de l'ère spatiale. Même les États qui n'ont pas d'implication directe dans le lancement ou l'exploitation de satellites comptent beaucoup sur cette infrastructure spatiale: la télévision, la radio, les banques, les communications, les transports, l'agriculture, l'exploitation minière, et en particulier pour les services militaires modernes. Pourtant, ces mêmes satellites sont sous la menace croissante de 100.000 s de morceaux de débris spatiaux et la prolifération réelle ou potentielle d'armes et autres moyens capables de détruire ou de perturber les satellites. Il existe également une concurrence pour l'utilisation du spectre des fréquences radio limitée qui est essentiel pour le fonctionnement de ces satellites. Parallèlement, il existe une série de facteurs déstabilisant la sécurité mondiale en général et la domination des États-Unis et en Europe en particulier. La prolifération des armes nucléaires et des missiles balistiques, en tant que de leurs vecteurs, est une préoccupation importante. Les missiles balistiques ont une trajectoire à travers l'espace et de la défense contre les missiles balistiques compter également sur l'infrastructure spatiale. Les contraintes financières et d'autres ont fait des puissances mondiales plus introvertie, moins susceptibles de déployer des forces dans le monde, sauf par le genre de capacités »portée à distance» qui s'appuient sur l'infrastructure spatiale pour leur efficacité (tels que les véhicules aériens sans pilote et la cyberguerre). Alors infrastructure spatiale est un élément clé de la sécurité mondiale, mais il est aussi de plus en plus vulnérables aux menaces décrites ci-dessus - y compris les armes spatiales. La guerre dans l'espace devient une possibilité réelle. L'espace n'est pas, cependant, une nouvelle, sauvage et anarchique frontière. Il existe un cadre juridique de complexité croissante. Toutefois, les traités spécifiques au domaine de l'espace, ainsi que les récentes initiatives pour augmenter ces traités, à peine contempler la guerre. Le droit de la guerre est applicable au domaine de l'espace et fournit potentiellement un ensemble complet de normes de comportement de l'État qui restreint le recours à la force par les Etats dans le domaine spatial. Il existe une incertitude considérable sur la façon dont les règles particulières des lois de la guerre s'appliquent au domaine de l'espace. Il serait dans les intérêts stratégiques de tous les États à avoir une déclaration claire et faisant autorité sur la manière dont les règles du droit de la guerre s'appliquent au domaine de l'espace. La question est de savoir comment parvenir à une telle déclaration claire et faisant autorité.Analogies utiles peuvent être trouvés dans le processus et le succès du Manuel de San Remo sur le droit international applicable aux conflits armés sur mer, le Manuel de Harvard sur le droit international applicable à antiaérienne et antimissile guerre et le Manuel Tallinn le droit international applicable aux cyberguerre. Ces manuels ont été rédigés par des experts juridiques et techniques mondialement reconnues dans chaque domaine exprimer des opinions personnelles sur la lex lata. Ils ont évité les nombreux défis de négociations de l'Etat sur des sujets similaires, mais les manuels ont eu un impact significatif dans chacun de leurs domaines. Il doit maintenant être un «manuel de droit international applicable à la guerre de l'espace».
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Silveira, Stefanie Carlan da. "A cultura da convergência e os fãs de Star Wars : um estudo sobre o conselho Jedi RS." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25129.
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A cultura da convergência abarca a questão tecnológica do fluxo de conteúdos, ocorrendo através de múltiplos suportes midiáticos e as questões de mudança de comportamento do público, que se apropria das redes digitais para buscar de diferentes experiências de entretenimento e de informação. Os sujeitos buscam um produto midiático que não se finde na sua própria exibição, mas sim proponha conteúdos que vão além de um único dispositivo de distribuição e necessitem do engajamento do público para que aconteçam efetivamente. Os fãs são personagens centrais da mudança na forma de operar da mídia de massa por serem pioneiros na adaptação às novas tecnologias de comunicação e informação e nos processos de produção e consumo participativos. A partir disso, esta pesquisa busca um olhar sobre as interações que fazem parte do comportamento dos fãs, tanto nas relações entre eles quanto com a indústria midiática. Para tanto, estudam-se os fãs de Star Wars, mais especificamente, os membros do Conselho Jedi do Rio Grande do Sul (CJRS), a fim de que através de um objeto empírico, consolidado e permanente se possa investigar o comportamento deste grupo no contexto de cultura da convergência, onde as interações entre eles e com o mercado de mídia são transformadas.The convergence culture includes the technological issue of the content flow going through multiple media and the issues of changes in public behavior which appropriates itself of the digital networks seeking for different experiences of entertainment and information. The individuals look for a media product that doesn‟t finish itself in its own exhibition, but propose content that go beyond a single distribution device and require the engagement of the audience to actually happen. The fans are central characters in the change of mass media operating way because they are pioneers in adapting the new technologies of communication and information and in participatory processes of production and consumption. From this, this research seeks a look at the interactions that are part of the behavior of fans, both in relations between them and with the media industry. To this end, the Star Wars fans are studied, more specifically, the members of the Jedi Council of Rio Grande do Sul (CJRS), so that through a consolidated and permanent empirical object, it became possible to investigate the behavior of this group in the convergence culture context where the interactions between them and the media market are changed.
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Vargas, Capa William’s Andrés. "Narrativas audiovisuales y la creación de tribus urbanas. Star Wars comunidades The Force Perú y Legion 501." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653286.
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En la actualidad, las agrupaciones sociales se han consolidado no solo por brechas en la sociedad, pues se ha encontrado un nuevo medio de asociacionismo por consumo, principalmente de las surgentes de los productos audiovisuales. Las redes sociales refuerzan este planteamiento de una identidad y los usuarios participan activamente en ellas.At present, social groups have been consolidated not only by gaps in society, as a new means of associationism has been found for consumption, mainly from the sources of audiovisual products. Social networks reinforce this approach to an identity and users actively participate in them.
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Kawecki, Mathew. "The Ladle and the Knife: Power Projection and Force Deployment under Reagan." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/war_and_society_theses/9.
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This thesis examines the nature and impact of the Reagan administration’s self-described projection of “peace through strength.” It argues that Reagan’s defense spending surge, “Star Wars” (SDI) missile shield policy, and 1983 invasion of Grenada gave the president confidence and political cover that allowed him to withdraw U.S. Marines from Beirut in early 1984. Analysts and commentators focus on his muscular power projection like defense spending, SDI, and the invasion of Grenada, but in practice Reagan exercised a high level of restraint in troop deployment. These projections of power and the avoidance of protracted war in Lebanon gave Reagan further confidence and cover to pursue arms control negotiations with the Soviet Union, against the protestations of anti-Soviet hardliners.
Although Reagan supporters have credited the administration with either frightening or bankrupting the Soviets into disarmament, these policies—particularly his military restraint in Lebanon—did more to bring Reagan himself to the negotiation table. These power projection measures contributed to a “peace through strength” narrative embraced by much of Reagan’s domestic audience, allowing him to fend off accusations of Munich-style appeasement. While the defense spending surge helped give Reagan the confidence to ink an arms control agreement, the buildup created nonlinear consequences that will outlive arms control treaties.
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Korkiakoski, I. (Iida). "Yoda the powerful Jedi Master:perception of the character of Yoda in five of the first six Star Wars films." Bachelor's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201706082641.
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The main aim of my research is to analyze the character of Yoda’s perception of others and himself, and other characters’ perception of him in two of the three original Star Wars trilogy films and all three of the prequel films. In my thesis, I used methods of film analysis, as well as discourse analysis. I analyzed the perceptions individually in different scenes from each film. The conclusions of my research are that the character of Yoda is a very central and significant character, and other characters, as well as himself, perceive him as wise and powerful. Although, Yoda is a powerful character, he is very humble, and values other character’s opinions and wordsTutkimukseni päätavoitteena on analysoida Yodan käsitystä muista hahmoista sekä hänestä itsestään että muiden hahmojen käsitystä Yodasta, kahdessa kolmesta alkuperäisestä Star Wars -elokuvasta sekä kaikissa kolmessa esiosaelokuvassa. Työssäni käytin elokuva-analyysin menetelmiä sekä diskurssianalyysiä. Analysoin käsityksiä erikseen jokaisesta elokuvasta eri kohtauksissa. Tutkimukseni johtopäätökset ovat, että Yoda on hyvin keskeinen ja merkittävä hahmo, ja muut hahmot, samoin kuin Yoda itse, pitävät häntä viisaana ja voimakkaana. Vaikka Yoda onkin voimakas hahmo, hän on hyvin nöyrä ja arvostaa muiden hahmojen mielipiteitä ja sanoja
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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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Beth, Marc. "We Are Not Alone." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1237768652.
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Haraldsson, Jonathan, and Julia Nordin. "Construction of Robot for Visual Demonstration at Conferences and Fairs." Thesis, Uppsala universitet, Fasta tillståndets elektronik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-364807.
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A demonstration robot for conferences and fairs has been built from scratch. The demonstration robot is meant to create lasting impressions at the company booth at conferences or fairs. Thus, the robot needs traits that attract people to the booth and makes sure they remember that company. In this project, traits such as being able to move, do facial expressions and play audio have been developed. The robot has also been designed to draw as much attention as possible to the booth. This was achieved by building a robot that consists of a rolling sphere with a head that always remains on top. All movements are carried out from inside the sphere by four different motors. One motor moves the robot back and forth, two motors spin a flywheel to turn the robot and the last motor rotates the head. These motors are mounted at different places on an internal structure. The internal structure is connected to the sphere at two points, one on each side of the robot. At the top of the internal structure, magnets are placed. Thus, it can attach the head at the outside of the sphere by mounting magnets in the head. All movements of the robots are controlled by a hand controller, which has been made in this project. The head has a built-in display simulating two eyes. The display is driven by a Raspberry Pi. An internal speaker is built-in inside the head, connected to the Raspberry Pi. Each simulated eye consists of 64 squares that can be programmed to be in different colours, thus making it possible to express a wide range of facial expressions.Two PCBs were designed and manufactured to control the robot. One was placed inside the robot, and the other inside the hand controller. The PCBs can communicate over Bluetooth, which makes it possible to control the robot from the outside.All parts of the robot have been designed in a CAD program and subsequently 3D printed. 3D design in CAD was learned from a novice level, since there was no previous knowledge of this in the project group.In addition, a registration form has been developed that allows visitors to register at the booth. Making it easier for the company to connect with visitors after the conference or fair. The registration form is connected with the Raspberry Pi in the head of the robot via Wi-Fi. Thus, when new registrations occur, the robot can print the names of them while audio is played.
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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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Sveinsdottir, Thordis. "Virtual identity as practice : exploring the relationship between role-players and their characters in the massively multiplayer online game 'Star Wars Galaxies'." Thesis, University of Surrey, 2008. http://epubs.surrey.ac.uk/2112/.
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The objective of this research is firstly, to evaluate claims that cyberspace, due to its inherent qualities, has had an unprecedented effect on how we construct, present and think about our collective and individual identities online and offline. Secondly, it will highlight how people use shared understandings of popular culture products in order to maintain social formations in cyberspace.
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Rudervall, Mathias. "Oenigheten mellan fans och kritiker: The Last Jedi : En innehållsanalys av de kritiska positionerna kring Star Wars Episode VIII: The Last Jedi." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-33543.
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Detta är en kvalitativ innehållsanalys av de kritiska positionerna kring den kontroversiella filmen Star Wars Episode VIII: The Last Jedi. Den innehåller en omfattande överblick om hur Star Wars kritiserats förr och nu för att sätta perspektiv på ämnet, samt information om hur fans och så kallade ”fandoms” ibland fungerar som ett ”hivemind” när det kommer till tyckande och organisering på nätets sajter och forum.
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Palmaer, Maddelene. ""If you're not with me, then you're my enemy." : En narrativ analys av ondskans representation i Star Wars utifrån protagonisten Anakin Skywalker." Thesis, Jönköping University, HLK, Ämnesforskning, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53694.
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This essay examines the representation of evil in the Star Wars prequel film series. The starting point of the study comes from a narrative analysis of the protagonist Anakin Skywalker. Using Gerard Genette's three-part model of narrative, Anakin's narrative is examined and presented based on the model's first part, story; which highlights what the narrative is portraying through structure, characters, setting and themes. The analysis shows that Anakin got underlying attributes that create tension in him that leads him to his downfall. Turning points and events in his narrative are presented that reinforce his climax where he allies himself with the dark lord of the Sith, Darth Sidious. The presentation of the narrative chisels out three overarching themes (self-esteem, love, and fear) that are discussed to find out what Anakin's narrative implies concerning the representation of evil in the Star Wars prequel. The final analysis suggested that Anakin's feels hindered in advancing in the Jedi-orders hierarchy but also that he is met with scepticism that affects his self-esteem. The analysis also implies that Anakin's fear of losing his loved ones is disregarded by the Jedi-order that rather encourage him the let go than giving him tools to work it through. Furthermore, the analysis concludes that Anakin does not ally himself with the dark side of the Force because it is evil, but because it – in his mind – offers him, not just power but also the possibility to save Padmé from dying. Through a presentation of Anakin's narrative and his fall to the dark side, evil in Star Wars is discussed. Evil, then, is not represented as one might expect, dualistic with a good and a bad, light, and dark. But rather shifting alongside Anakin's moral compass when he allies himself with the dark side. The dark side that initially represented evil, will therefore become good and its counterpart the light side of the Force and the Jedi-order who fights for peace and justice in the galaxy, will for Anakin represent evil instead.
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Andersson, Josefin. ""Doctor, use the Force" : En fenomenografisk studie av individers berättelser angående sitt religiösa intresse gentemot Temple of the Jedi Order och Whovianism." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45293.
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In this paper I have studied the two new religious phenomena, Temple of the Jedi Order and Whovianism, based on the cognitive concept of man dominated by schemas that characterize the outcome of adequate response to new situations. This principle is about how man faces new situations through old knowledge and experience of similar events. For this study, I analyzed selected stories in which individuals describe their religious interest and involvement in the Star Wars movies, and the related religious community Temple of the Jedi Order, as well as the television series Doctor Who, with the associated religious community Whovianism. This study was inspired by phenomenographic method by which researchers focus on the perceived and how it is conveyed in the respective story. The results of this study show that new religious phenomena, such as the Temple of the Jedi Order and Whovianism, can be explained using the theory of cognitive schemas. The study shows that the individuals, whose stories have been examined, use ancient knowledge and experiences on the different aspects conveyed by Star Wars and Doctor Who and through this a new religious community is born.
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Tatlock, Melissa S. "From Titanic to Star Wars : a Derridean deconstructive analysis of the minimization of violence in the 25 top grossing films of all-time /." Halifax, N.S. : Saint Mary's University, 2009.
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Altgård, Sara. "I am super jealous of all the little girls who get to see themselves be the hero of Star Wars : en studie om fandom och sekulär helighet." Thesis, Uppsala universitet, Teologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296243.
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Finding something sacred in secular society is a relatively new field of religious studies. This thesis aims to find the secular sacred amongst Star Wars fans on the blogging platform Tumblr, in relation to Kim Knott and her theory of the secular sacred. I collected and studied 100 blog posts about Star Wars, specifically about one of its main characters, Rey. The research questions used were “How do fans of Star Wars and Rey express themselves on Tumblr?”, and “Could it be seen as sacred according to Kim Knott´s theory of secular sacred?” I analyzed the material with a hermeneutic approach, and using Kim Knott’s theory, I categorized the posts in to three categories: sacred, appreciative and sacrilegious. Even though the appreciative category was by far the largest, the results showed that a fifth of all the blog posts could be perceived as having content that could be seen as sacred to its poster. I came to the conclusion that my study supports the theory of sacredness not being exclusive to religious society, but can be found in the secular as well.
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Larsson, Henrik. "“Vi håller aldrig på med realism...” : En kvalitativ undersökning om ljudets funktioner för en autentisk filmupplevelse." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24543.
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Uppsatsen ämnar att ge en djupare förståelse för ljud i film och dess funktioner för en autentisk och realistisk filmupplevelse. Ljudet är sällan något man som åskådare lägger aktivt fokus på under en film med undantaget att man tycker att något inte stämmer. Så vad är det som krävs för att man inte ska ifrågasätta ljudet? Kvalitativa intervjuer med två personer yrkesaktiva inom ljudläggning samt en forskare inom ämnet har utförts för att kunna redovisa ingående tankar och åsikter om vad de anser vara ljudets viktigaste funktioner i modern film. Synkro nise ring och klang är centrala begrepp i undersökningen . De är exempel på faktorer som kan påverka hur man uppfattar kopplingen mellan ljud och bild. Med hjälp av uppsatsens insamlade data samt dess teoriavsnitt har dessa faktorer vidare konkretiserats genom en kort analys av tre utvalda scener från filmen Star Wars (1977). Uppsatsens mest centrala resultat baserar sig i idéen om samverkan mellan ljud och bild. Bilden klassas som det mest centrala i en film och ljud finns till för att förstärka eller berätta saker som bilden inte kan. Vad gäller realism inom filmljud så existerar det nästan inte. Det vi uppfattar som realistiskt behöver inte ha något med faktisk realism att göra. Uppsatsens diskussionsavsnitt berör studiens styrkor, svagheter samt förslag till fortsatt forskning.
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Acosta, Aguilar José Joaquín. "La expansión de la franquicia Star Wars a través de fan clubs: estrategias transmediales de The Force de Perú y su podcast, “La mesa de Greedo”." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655154.
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El ecosistema mediático moderno opta actualmente por una nueva forma de contar historias: la narrativa transmedia. Habiendo dicho esto, es la intención de este proyecto de investigación elaborar un análisis sobre la naturaleza de las obras transmediales y los posibles tipos de relaciones que estas pueden generar entre el creador y el consumidor, de manera que los nuevos comunicadores conozcan las herramientas alternativas que están actualmente a su disposición para contar historias. Para conseguirlo, esta investigación utiliza a la franquicia Star Wars y un club de fans, The Force Perú, como sujetos de estudio y se propone a lograr el objetivo principal de examinar una de las estrategias que utiliza el club de fans The Force Perú para generar contenido transmedial en base a Star Wars. Por otro lado, este proyecto de investigación también se propone a lograr el subobjetivo de describir los nuevos contenidos desarrollados por The Force en base a Star Wars a través de su podcast “La mesa de Greedo” y el subobjetivo de analizar la organización de los creadores de contenido del podcast del club de fans The Force Perú. En cuanto a la metodología que se planea implementar en este proyecto, esta se ceñirá a un paradigma interpretativo o cualitativo y tendrá un enfoque etnográfico. De esta manera, las técnicas de recolección de datos serán entrevistas semiestructuradas y no estructuradas.The modern media ecosystem is currently opting for a new form of storytelling: transmedia narrative. Having said that, it is the intention of this research project to prepare an analysis on the behaviour of transmedia works and the possible types of relationships that these can generate between the creator and the consumer, so that new communicators get to know the alternative tools for storytelling that are currently at their disposal. To achieve this, this research uses the Star Wars franchise and a fan club, The Force Peru, as study subjects and aims to achieve the main objective of examining one of the strategies that the Force Peru fan club uses to generate transmedia content based on Star Wars. On the other hand, this research project also aims to describe the new content developed by The Force based on Star Wars through its podcast La mesa de Greedo and to analyse the organization of podcast content creators from The Force Peru fan club. As for the methodological design that will be implemented within this project, it will follow an interpretive or qualitative paradigm and will have an ethnographic focus. Thus, the data collection techniques will be semi-structured and unstructured interviews.
Trabajo de investigación
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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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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 technologiesThe 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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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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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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Varga, Karlsson Gabriella. "John Williams fagottkonsert The Five Sacred Trees 1. Eó Mugna 2. Tortan : analys av musikaliskt innehåll samt instudering." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2288.
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John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden.John Williams fagottkonsert, sats 1-2.
Medverkande: Gabriella Varga Karlsson, fagott
Georg Öquist, piano
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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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Andersson, Niklas. "Stereotypes of English in Hollywood Movies : A Case Study of the Use of Different Varieties of English in Star Wars, The Lord of the Rings and Transformers." Thesis, Stockholms universitet, Engelska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-35040.
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This essay deals with the use of linguistic stereotypes in Hollywood movies. It investigates whether attitudes towards English dialects found in studies on perceptual dialectology are reflected in the selected movies and discusses the notion of linguistic identity and how standard and nonstandard speech, respectively, are used symbolically to emphasize features of characters in eleven movies from three different movie series, namely The Lord of the Rings, Star Wars and Transformers, with a main focus on syntactic and phonological dimensions. The essay finds a correlation between standard speech and features of competence and wisdom, and nonstandard speech and features of solidarity, sociability and traits of stupidity and humor. Moreover, very specific perceptions of certain varieties of English are probably utilized as amplifiers of equally specific characteristics of some characters. The use of dialects and accents in these movies is probably intentional and not coincidental.
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Peyron, David. "La construction sociale d'une sous-culture : l'exemple de la culture geek." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30089.
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Cette étude porte sur la « culture geek » et son émergence en tant que sous-culture et identité culturelle revendiquée en France depuis le milieu des années 2000. En effet, ce mouvement d’abord américain a fait une entrée remarquée dans l’espace public qui incite à s’interroger sur sa réalité sociologique. Les geeks sont abordés ici comme fans de mondes imaginaires fantastiques (science-fiction, fantasy…), passionnés de nouvelles technologies et en tant que public premier et fondateur du processus de convergence culturelle théorisé par Henry Jenkins. La montée en visibilité du phénomène geek est ainsi liée dans cette étude à celle de pratiques médiatiques associées à ce processus (fanfictions, démocratisation des outils numériques, œuvres transmédiatiques et immersives, etc.). Dans ce cadre, le tournant réflexif (vers un sentiment d’appartenance à une identité collective) et la mode médiatique autour de la culture geek ces dernières années trouvent leurs racines dans les moments fondateurs de la convergence culturelle (depuis les pulps fictions et la naissance des comic books jusqu’à la sortie de Star Wars, du Seigneur des anneaux, des premiers jeux de rôles et jeux vidéo). Mais cela doit aussi à la radicalisation récente des croisements médiatiques, des pratiques participatives, de la mondialisation des partages liée aux technologies numériques et au passage des identités prescrites aux identités choisies dans les sociétés contemporaines marquées par l’individualismeThis dissertation is about « geek culture » and the emergence of this subcultural identity in recent years in France. This movement, born in North America, has entered the public sphere in a spectacular way and it encourages us to study its sociological reality. Geeks are seen here as fans of imaginary worlds (science-fiction, fantasy…), new technologies lovers, and as first and original audience of the process of cultural convergence defined by Henry Jenkins. The increasing visibility of the geek phenomenon is connected to many practices associated with this process (fanfictions, wide use of digital technology, transmedia and immersive storytelling, etc.). From this point of view, the reflexive moment (the feeling of being part of a collective identity) and the geek trend are both rooted by the beginnings of cultural convergence (from the pulp fictions, and the birth of comic books, to the release of Star Wars, the Lord of the Rings and the first role-playing or video games). It also has to do with the recent growth of links between media, with the success of participatory culture, the possibility of worldwide share thanks to digital technologies and the shift from preassigned identities to chosen ones in our individualistic society
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Sverin, Simon. "Athene, Obi-Wan and Yoda as Mentors with Masks : Characters representing a millennia old story-telling tradition." Thesis, Högskolan i Halmstad, Språk, kultur och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33389.
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Dallacheisa, Tony G. "Pop Goes The Story: A Collection." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212417587.
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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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Pontén, Joon. "The final final final cut : Fan edits och hur de samverkar med filmindustrin." Thesis, Stockholms universitet, Institutionen för mediestudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77200.
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Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.