To see the other types of publications on this topic, follow the link: Symbolism in film.
Dissertations / Theses on the topic 'Symbolism in film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 47 dissertations / theses for your research on the topic 'Symbolism in film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Göthlin, Erik. "En analys av rekonstruktionen i Arne Sucksdorffs dokumentärfilmer." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-5044.
Full text
2
Compton, Mark Daniel. "Neo-Raconteur: Allocating Southern-Gothic Symbolism into Design Media." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1394.
Full textAbstract:
I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.
3
Laws, Amy C. "Creating The Water Clock." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2549.
Full textAbstract:
This thesis will discuss the making of my short film The Water Clock at the University of New Orleans from its inception to its final short film form. Part One discusses the balancing of content and style and explores the relation between time and water as inspirations for story. Part Two details the preproduction process and major crew members’ collaborations and contributions before filming. Part Three describes daily successes, struggles, and direction while in production. Part Four describes every phase of the post-production process as the film is completed. Lastly, I will analyze my personal growth as a filmmaker.
4
Holmberg, Jeanette. "Det ambivalenta moderskapet: : en analys av moderskapssymbolik i filmen Antichrist." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85163.
Full textAbstract:
This thesis highlights depicted motherhood in film. Antichrist is used as the primary object in my analysis, which is a film that has been vividly debated in the literature, beacuse of it's graphic content. To a large extent, this film has been discussed in relation to Lars von Triers intentions and previous works, but in this thesis the film and it's depicted motherhood is viewed through it's symbolic elements. These elements, when analysed in relation to film language and motherhood theory, point out the representation of an ambivalent nature of motherhood. The symbolic content in five different scenes, which is attributed to Her as a mother, is also found in other cultural and religious sources. I claim that this depicted ambigous motherhood is central to the films narrative. As a consequence, this thesis also unfolds the peripheral depicted fatherhood, an aspect in need of futher investigation.
5
Jones, Daniel O. "The Soul That Thinks: Essays on Philosophy, Narrative and Symbol in the Cinema and Thought of Andrei Tarkovsky." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999476.
Full text
6
Kostetskaya, Anastasia G. "The Water of Life and the Life of Water: the Metaphor of World Liquescence in Russian Symbolist Poetry, Art and Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1367511847.
Full text
7
Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.
Full textAbstract:
Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).
8
Jeudy, Olivier. "L'analyse de film et l'interprétation des mythes grecs." Paris 1, 1999. http://www.theses.fr/1999PA010526.
Full textAbstract:
Notre recherche traite essentiellement des différentes corrélations mises en scène entre la croyance liée au mythe grec, et la croyance liée au médium cinématographique. Les transpositions des mythes grecs au cinéma, comme l'écrit Jean-Louis comolli, sont des évènements sociologiques : les narrations filmiques participent aussi bien d'expressions "transparentes" d'une réalité sociale, que d'expressions idéologiques ; elles ont ainsi une fonction sociale fondamentale par le traitement collectif de la représentation de l'"incroyable". Notre relecture des films, Orphée (1949) et Le testament d'Orphée (1959) de Jean Cocteau, Jason et les argonautes (1963) de Don Chaffey, Le mépris (1963) de Jean-Luc Godard, Oedipe-roi (1967) et Médée (1970) de Pier Paolo Pasolini, et Antigone (1991) de Danièle Huilet et Jean-Marie Straub, consiste à montrer comment les récits filmiques nous permettent de faire l'expérience d'une "plasticité du temps" et d'éprouver, dans un rapport esthétique, la tradition que nous entretenons à l'égard de la mythologie grecque et de nous-mêmes. Comprendre comment les mythes grecs sont réinvestis par le cinéma, c'est, de notre point de vue, analyser la nature du "processus filmo-diegetique", c'est-à-dire la relation entre le film et le spectateur. Notre thèse, qui est composée de trois parties intitulees : la symbolique des récits, mythiques : analyse des systemes d'interpretation, espaces filmiques et rythmes de perception; et les enjeux culturels de l'analyse de film, s'articule plus particulièrement autour d'une réflexion sur les systèmes d'interprétation et de représentation développés par les théories anthropologiques, cinématographiques et sociologiquesOur research essentially deals with the different correlations shown between the belief related to the greek myth and the belief related to the cinematographic medium. The transpositions of greek myths to cinema, as Jean-Louis Comolli writes it, are +ociological events : the film narrations partake of "transparent" expressions as well of ideological expressions ; they have thus a basic social function through the collective processing of the representation of the "unbelievable". Or rereading of the films, Jean Cocteau's Orphée (1949) and Le testament d'Orphée (1959), Don Chaffey's Jason and the argonauts, Pier Paolo Pasolini's Odipo rey (1967) and Medea (1970), and Daniel Huillet and Jean-Marie Straub's Antigone (1991), consists of showing how film narrations allows us to experiment a "time plasticity" and to feel, in an aesthetic relationship, in the tradition we are maintaining with regard to the greek mythology and to ourselves. To understand how greek myths are reinvested by the cinema, in our point of view, is to analyze the nature of the "filmo-diegetic process" : the relation between film and spectator. Our thesis, is composed of three parts entitled : the symbolic systems of mythic narrations : analysis of interpretation systems, film spaces and perception rhythms, the cultural implications of the film analysis, it is structured around reflections concerning the interpretation and representation systems developed by the anthropological, cinematographic and sociological theories
9
Silva, Odair José Moreira da. "O suplício na espera dilatada: a construção do gênero suspense no cinema." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-07102011-144235/.
Full textAbstract:
O estudo dos gêneros do cinema aponta para várias direções sem, no entanto, especificar a importância que deve ser dada às estratégias discursivas que engendram a significação de determinado filme. Por muito tempo, a teoria semiótica de linha francesa serviu apenas para salientar um perfil da significação fílmica, originada do percurso gerativo de sentido, na medida em que trata especificamente do esquema narrativo. De certo modo, os estudos da semiótica francesa concernentes ao cinema são exíguos. Diante da diversidade cinematográfica, um recorte pode ser feito de uma totalidade específica. A partir daí, os gêneros remetem a certa identidade do fazer cinematográfico. Os gêneros, pensados como enunciados que comportam um conteúdo temático, um estilo e uma construção composicional, fundam a identidade fílmica. Porém essa norma bakhtiniana de arquitetura, inerente a diversos enunciados fílmicos, parece ser pouco mencionada. Dessa forma, ignorar esse princípio básico é afastar um entendimento do processo de significação que, quando percebido e analisado, traz à tona o modo como o enunciador de um filme se utiliza de alguns recursos que revelam um modo próprio de manipular o espectador, o enunciatário ideal. O presente trabalho visa expor como um gênero fílmico particular, o suspense, surgido em um período histórico da sétima arte, conhecido como cinema clássico, pode ser desvendado, tomando como base a regra bakhtiniana referida. Com esse princípio em mente, a pesquisa adentra na teoria da significação e faz emergir várias possibilidades de exame ao texto fílmico. Sob tal orientação, este trabalho apresenta algumas ferramentas semióticas de análise do cinema, tais como a segmentação dos filmes e o levantamento das estruturas elementares e tensivas do gênero suspense. Seguindo esse horizonte, nossas investigações tendem a revelar uma gradação de intensidade constituinte da formação desse gênero. Além disso, como um dos recursos de uma identidade audiovisual, o exame das relações semissimbólicas aponta para um fator determinante na constituição das imagens fílmicas, entendido como as categorias paramétricas da imagem e seus contrastes. Relativamente a isso, será ressaltado o conteúdo temático e o modo como a configuração discursiva atua no desenvolvimento desse quesito. Com relação ao estilo, duas direções foram apontadas como constituintes do gênero suspense, o estilo do gênero e o estilo do autor. Tomando esses princípios como diretrizes, o corpus deste trabalho constitui-se de três filmes, representantes do cinema clássico, envoltos pela programação do suspense, o que dá a eles certo estatuto de referência: Cidadão Kane, de Orson Welles; Anatomia de um crime, de Otto Preminger; e Psicose, de Alfred Hitchcock.Studies about movie genres point out to several directions, without specifying, however, the importance that should be given to discursive strategies that engender the significance of a particular movie. For a long time, French semiotic theory was suitable only to highlight a profile of filmic significance, which originated from the generative process in meaning, once it deals specifically with narrative scheme. However, French semiotic studies about movies are scarce. Due to the cinematographic diversity, a cut can be made of the specific totality. From that, genres refer to a certain identity of filmmaking. Genres, considered as enunciates that hold a thematic content, style and compositional construction, found the filmic identity. Nevertheless, this Bakhtinian architectural norm, inherent in many filmic enunciates seems to be little mentioned. Therefore, ignoring this basic principle means to establish a distance from a comprehension of the signification process that once noticed and analyzed brings light to the way the movie enunciator uses some resources that reveal a particular way of manipulating the spectators, the ideal enunciatee. The present work aims to expose how a particular movie genre, the suspense, originated in a historical period of the seventh art, known as classic movie era, can be unveiled, taking as basis the refered Bakhtinian norm. With this principle in mind this research penetrates the significance theory and brings to life many possibilities of examining filmic text. Following such orientation, this paper presents some analytical semiotic movie tools such as: movie segmentation and gathering of elementary and tensive structures in the suspense genre. Following this horizon, our investigations tend to reveal a gradation of intensity inherent in the formation of this genre. Furthermore, as one of the resources of an audiovisual identity, analysis of semi-simbolics relations points out to a determinant factor in the constitution of filmic images, known as parametrics categories of image and its contrasts. Regarding this, thematic content and the role that discoursive configuration plays in this issue, will be highlighted in this paper. Concerning style, two directions have been identified as constituents of the suspense genre, the style of the genre and the style of the author. Thus, having these principles as guidelines, the corpus of this paper consists of three movies, representatives of the classic movie era, that are involved by the programming of suspense, which gives them a certain status of reference: Citizen Kane by Orson Welles, Anatomy of a murder by Otto Preminger and Psycho by Alfred Hitchcock.
10
Cella, Carmine Emanuele <1976>. "On symbolic representations of music." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/4180/.
Full text
11
Coppel, Eva Parrondo. "Mapping textual surfaces : psychoanalytic theory, subjectivity, and 1940s Hollywood cinema." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341714.
Full text
12
Lopez, Puebla Luis. "L'Inconscient et la création artistique : ou Comment des mythes et symboles archaïques font surface dans l'oeuvre cinématographique d'un cinéaste moderne : Raul Ruiz." Paris 3, 1998. http://www.theses.fr/1998PA030038.
Full textAbstract:
La creation artistique denombre plusieurs contenus. Nous nous sommes surtout interesses aux contenus inconscients et, parmi eux, aux rites, mythes et symboles archaiques. Nous avons observe que nous reproduisons ces mythes, rites et symboles, sans en etre conscient; nous nous sommes questionnes sur le pourquoi de cette reproduction, et, en vue de trouver des reponses, nous nous sommes tournes vers la psychanalyse et son rapport a la creation artistique. Nous sommes arrives a la conclusion que nous avons une "memoire" de ces mythes, rites et symboles anciens et que leur acquisition se situe avant meme notre naissance. Nous avons traite dans ce sens la theorie de platon sur l'immortalite de la memoire ainsi que les theories sur "l'heritage phylogenique" de sigmund freud et sur "l'heritage psychologique" de carl gustav jung. En application de ces theories, nous avons travaille sur l'oeuvre cinematographique de raul ruizWe find several contents in artistic creation. We mainly focused on unconscious contents and, among hem, on rites, myths and archaics symbols. We noticed that we reproduce those myths, rites and symbols, without being conscious of doing so; we asked ourselves what purpose such a reproduction could have and, in order to find out answers, we turned to psychoanalysis and its relation to artistic creation. We came to the conclusion that we have a memory for those myths, rites and symbols and that their acquisition takes place even before birth. With this approch in mind, we studied plato's theory on memory's immortality as well as sigmund freud's theories on "phylogenic heritage" and carl gustav jung's "psychological heritage". We then applied these theories to raul ruiz film works
13
Poole, Mark William. "Hitchcock's films on the couch: Freudian and Lacanian readings of symbolic space." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/18003.
Full textAbstract:
Doutoramento em Estudos CulturaisAlfred Hitchcock realizou cinquenta e três filmes num período de cinquenta anos. Perante um corpus tão vasto e um interesse, popular e académico, contínuo na sua obra, um dos objetivos desta tese é tentar descobrir quais as componentes dos seus filmes que conduziram a este fascínio. Consequentemente, esta tese pretende refletir, através de uma análise que utiliza metodologias psicanalíticas, sobre dezanove destes filmes e elementos que neles se repetem. A abordagem psicanalítica foi escolhida para perceber se existe um uso coerente de certos elementos que cria um significado simbólico nos filmes em discussão. Haverá elementos usados de forma consistente, com um significado simbólico estável que podem ser interpretados simbolicamente da mesma forma em dois ou mais filmes? E, caso contrário, que diferenças de significado se nos põem? Esta análise é baseada em elementos estruturais repetidos na mise-en-scène dos filmes, tais como escadarias ou quartos de dormir, que foram usados como termos gerais com o intuito de facilitar a investigação dos méritos simbólicos que estes, e outras componentes relacionadas, possuem. As metodologias psicanalíticas usadas incluem conceitos-chave de Sigmund Freud, como o Ego, o Superego e o Id, e de Jacques Lacan, como o Imaginário, o Simbólico e o Real. Ao usar os conceitos que estes dois pensadores psicanalíticos desenvolveram, é esperado que certos padrões simbólicos e temáticos nos filmes de Hitchcock que foram no passado sub-explorados, surjam para uma discussão mais alargada
Alfred Hitchcock made fifty-three feature films over a fifty-year period. In view of such a large corpus and continued popular and academic interest in his work, one of the aims of this thesis is to attempt to discover what components in his films have led to such an interest. As a result, this thesis considers, through an analysis using psychoanalytic methodologies, nineteen of these films and elements which are repeated across these films. This psychoanalytic approach has been chosen to examine if there is a coherent use of certain elements to create symbolic meaning in the films under discussion. Namely, are there elements that can be interpreted symbolically being used consistently with the same stable symbolic meaning in two or more films? And if not, what differences in meaning are there? To aid with this analysis, repeated structural elements in the films’ mise-enscène, such as staircases or bedrooms, have been explored to investigate the symbolic readings they and other related components might offer. The psychoanalytic methodologies being used include key concepts of Sigmund Freud and Jacques Lacan, such the former’s Ego, Superego and Id and the latter’s Imaginary, Symbolic and Real. By using these, and other concepts these two psychoanalytic thinkers developed, it is hoped that certain symbolic and thematic patterns in Hitchcock’s films that have previously been underexplored can be brought to light and discussed.
14
Brunberg, Mikael. "The weight of color." Thesis, Uppsala universitet, Institutionen för speldesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-209982.
Full textAbstract:
This paper explores the weight of color, with the focus lying on the symbolic significance ofcolor. Exploring whether color in itself conveys symbolic significance and is the symbolicsignificance of color permanent, or is it an after construction? It will be looking at differentareas such as what makes us humans able to perceive colors in the first place, beginning withan insight at some of the foundations in the area of color theory. Mentioning experiments ondecomposed white light, that contains the visible color spectrum and its contribution to theevolution of the color wheel. The color wheels contribution to the art world, the constructionof color harmonies and their significance. It will also be looking at some of the more commonsymbolical meanings of colors and its symbolic significance as color language. It will becovering previous research such as what the symbolic significance of color was under theElizabethan era, consequences when combining color and taste and finally an insight on thetheory of the emotion wheel and its conceptual design in combining emotions with color.There will also be a discussion part looking at the area of color therapy and thoughtsrevolving the subject. The second last part will revolve around my own observations andanalysis. Keeping in mind what I have explored in the earlier parts of this paper and using thatknowledge in my observations and analysis on three different methods utilising the symbolicsignificance of color, focused in the area of films. The last part of my paper will be the resultsof my exploration on the subject of symbolic significance of color and also a discussion part,with my own thoughts on the subject.
15
Hastings, Miriam Wendy. "Representations of desire and identity in contemporary women's writing and film-making." Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25785.
Full textAbstract:
Following the publication of Simone de Beauvoir's influential book, The Second Sex, (1949), many feminist critics in Europe and North America have discussed the problems facing women artists and critics of working within phallocentric and phallo-symbolic culture and language. Simone de Beauvoir was the first to demonstrate how male-dominated culture has used symbolic language in order to exclude, repress, and objectify women. Language is one of the key mechanisms employed in phallocentric culture to define and construct reality and gender identity according to male experience and desire. Feminist critics writing since the 1950s,. have been examining the ways in which women might find or develop a language through which they can express their own experience of reality, gender identity, sexual desire and pleasure. Many contemporary women writers and film-makers have appropriated the representations of female desire and sexuality that pervade male-dominated western culture, deconstructing and subverting them in order to create innovative and challenging representations of their own. They refer to, and draw upon, the traditional imagery and conventions of classic Hollywood cinema, using such references to serve their own ends and create their own meanings. They have also radically deconstructed and reappropriated stereotypical pornographic images, exploring the possibility of creating a female-oriented, woman-centred, non-misogynous erotica. Women working in the fields of literature and film are attempting to explore and develop alternative representations of female desire and gender identities, experimenting with new vocabularies of representation in order to explore women's perceptions of their multiple identities and their experience of themselves as desiring subjects. They have taken some of the most negative representations of women constructed by phallocentric culture, and reappropriated them in order to create innovative, alternative forms of representation and a radical critique of the social construction of "femininity" and gender identity.
16
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.
Full textAbstract:
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.
17
van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
Full textAbstract:
Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
18
Bowie, James I. "Innovation, Imitation, Legitimacy and Deviance in the Design of Graphical Trademarks in the United States, 1884-2003." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1253%5F1%5Fm.pdf&type=application/pdf.
Full text
19
Huang, Jin. "Detecting Server-Side Web Applications with Unrestricted File Upload Vulnerabilities." Wright State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=wright163007760528389.
Full text
20
Coates, Maran. "Moderat's Rusty nails and Loie Fuller's Serpentine dance : analysis cloth, the body and movement as symbolic interpretation of meaning in film." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015733.
Full textAbstract:
The main objective of the study is to explore how cloth, the body and movement are able to communicate possible symbolic meaning in Loïe Fuller’s Serpentine Dance film and Moderat’s Rusty Nails music video. The study further attempts to establish the characteristics of fashion film to include cloth, the body and movement and provide a methodology that locates fashion film as a sign system using a visual semiotic analysis framework. The films were then compared and contrasted to determine similarities and differences in their use of cloth, the body and movement. The findings from the film analysis suggest that cloth, the body and movement communicate symbolic meaning in the films based on their associated meanings that are generated both inside and outside the film context. By focussing on cloth, the body and movement as primary communicators (rather than secondary or supporting communicators) in film, new meanings can be interpreted from their interrelationship. The results inform new ways for fashion designers and fashion filmmakers to engage with cloth, the body and movement in fashion film.
21
Walczuk, Maria. "Tools of Vulnerability : How can tools to access vulnerability be a symbolic key to unlocking the transformative power of resilience in a narrative?" Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-746.
Full textAbstract:
My film work has revolved around a hypothesis of vulnerability with my artistic research question: in the context of interviews and the larger scope of cinematic storytelling, how can tools to access vulnerability be a symbolic key to unlocking the transformative power of resilience in a narrative? Proposed Methodology: I. The Privilege of Listening II. The Power of Silence III. Trust & Intuition IV. The Light of Vulnerability V. Discovery of ResilienceThis is a written companion piece to the graduation short film, "Rise" by Maria Karin Walczuk.
22
Bulté, Matthieu. "Orthodoxie du cinéma : une raison dans l'histoire." Paris 1, 2005. http://www.theses.fr/2005PA010686.
Full textAbstract:
L' " orthodoxie du cinéma" n'est pas l'orthodoxie au cinéma, mais une perspective a priori indépendante de toute pensée antérieure (quoique pas nécessairement contradictoire a posteriori) : il s'agit d'un concept n'ayant pour objet qu'une spécialité symbolique du sens, en tant qu'immanent à la forme cinématographique même. C'est d'ailleurs ce que le cinéma a par nature et à raison commencé par être: à l'aune de son classicisme, un champ formellement très neuf, mais pour des idées souvent très vieilles. Un tel paradoxe permet de constater que les " puristes" du cinéma (Hitchcock, exemplairement) tendent à concilier, par la symbolique propre à leur art, ce concept avec son sens traditionnel, tout comme le rationalisme kantien avec la théologie dont il se voulait a priori indépendant: la présence d'une tradition morale et religieuse au cinéma relève d'une raison dans 1 'Histoire, immanente à sa forme. Mais, en effet, une telle raison s'avérera finalement impure de contingence historique, et le revirement du cinéma moderne en manifestera la limite.
23
Abend, Janine [Verfasser], and Albrecht [Akademischer Betreuer] Schneider. "Rezeption von Filmmusik : Eine empirische Untersuchung anhand der Filme Der Pianist und Vitus unter besonderer Berücksichtigung der musikalischen Symbolik / Janine Abend ; Betreuer: Albrecht Schneider." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2020. http://d-nb.info/1208394991/34.
Full text
24
CORNA, SARA. "LA FAGLIA DEL SIMBOLICO. FREQUENTARE IL REALE IN LACAN, DELEUZE E DERRIDA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/42963.
Full textAbstract:
Il presente lavoro si propone di indagare lo sviluppo di alcuni concetti chiave dell’insegnamento di Jacques Lacan. In particolare, si è messa alla prova la legge del significante, l’azione del linguaggio nella dinamica di soggettivazione messa in campo dallo psicoanalista francese. L’irruzione della nozione di godimento (jouissance) nel registro del simbolico obbliga a ripensare il rapporto fra l’orizzonte dell’Altro e quello dell’Uno, il rapporto fra simbolico e reale, nella costituzione del soggetto. L’ipotesi che muove questa ricerca è che per tentare di rintracciare la piega del reale nell’insegnamento lacaniano sia necessario lasciarsi guidare dal pensiero di due grandi filosofi del Novecento: Gilles Deleuze e Jacques Derrida. È nel rapporto fra questi tre pensatori francesi che si è potuta rilanciare la partita della soggettività come nucleo inaggirabile che unisce filosofia e psicoanalisi.The dissertation investigates the development the most important contributions of Jacques Lacan to the field of philosophy and psychoanalysis. In particular, it focuses on the law of the signifier, namely, the role that language plays in the formation of the subject. The work also explores how Lacan’s insistence on the relationship between jouissance and the symbolic realm has an impact on the way he thinks about the formation of the subject and about the relationship between the Other, the symbolic, and the real. In order to understand real’s role in Lacan’s thought, the dissertation argues, it is necessary to consider the work of two important philosophers, Gilles Deleuze and Jacques Derrida, as they both show that subjectivity constitutes the unavoidable nexus between philosophy and psychoanalysis.
25
Geldenhuys, Vincent. "A signification in stone the lapis as metaphor for visual hybridisation in the Harry Potter films /." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11132008-191836.
Full text
26
Martig, Charles. "Kino der Irritation : Lars von Triers theologische und ästhetische Herausforderung /." Marburg : Schüren Verl, 2008. http://www.schueren-verlag.de/?aid=1846.
Full text
27
Cabart, Anaïs. "Cinéma analytique et transfert : l’expérience spectatorielle dans "Persona" et "L’Heure du loup" de Bergman et "Antichrist", "Melancholia" et "Nymphomaniac" de Von Trier." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30039/document.
Full textAbstract:
Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéalThe simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator
28
Lafourcade, Pascal. "Sécurité assistée par ordinateur pour les primitives cryptgraphiques, les protocoles de vote électronique et les réseaux de capteurs sans fil." Habilitation à diriger des recherches, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00807568.
Full textAbstract:
La sécurité est une des préoccupations principales de l'informatique moderne. De plus en plus de personnes utilisent un ordinateur pour des opérations sensibles comme pour des transferts bancaires, des achats sur internet, le payement des impôts ou même pour voter. La plupart de ces utilisateurs ne savent pas comment la sécurité est assurée, par conséquence ils font totalement confiance à leurs applications. Souvent ces applications utilisent des protocoles cryptographiques qui sont sujet à erreur, comme le montre la célèbre faille de sécurité découverte sur le protocole de Needham-Schroeder dix-sept ans après sa publication. Ces erreurs proviennent de plusieurs aspects : -- Les preuves de primitives cryptographiques peuvent contenir des erreurs. -- Les propriétés de sécurité ne sont pas bien spécifiées, par conséquence, il n'est pas facile d'en faire la preuve. -- Les hypothèses faites sur le modèle de l'intrus sont trop restrictives. Dans cette habilitation, nous présentons des méthodes formelles pour vérifier la sécurité selon ces trois aspects. Tout d'abord, nous construisons des logiques de Hoare afin de prouver la sécurité de primitives cryptographiques comme les chiffrements à clef publique, les modes de chiffrement asymétriques et les codes d'authentification de message ( Message authentication codes, MACs). Nous étudions aussi les protocoles de votes électroniques et les réseaux de capteus sans fil ( Wireless Sensor Networks, WSNs ). Dans ces deux domaines, nous analysons les propriétés de sécurité afin de les modéliser formellement. Ensuite nous développons des techniques appropriées afin de les vérifier.
29
Gronner-Timsit, Yaël. "Rachel et Léa - entre tradition et contemporanéité : représentation des deux matriarches de la Bible à la société juive contemporaine en France et en Israël, au fil du Tamuld de Babylone, du Midrach Rabba du commentaire de Rachi et du Zohar." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0152.
Full textAbstract:
La thèse constitue l’exploration thématique de six sources, cinq sources textuelles et une source orale. Les sources textuelles sont parmi les plus importantes de la tradition juive: la Bible, le Talmud de Babylone, le Midrach Rabba, le commentaire de Rachi sur la Bible, et le Zohar. Quant à la source orale, elle correspond à une étude des représentations actuelles de Rachel et Léa chez des juifs en France et en Israël au travers des entretiens. Ce travail tente d'abord de saisir la place occupée par les deux matriarches dans les textes fondateurs de la tradition juive et le cheminement du récit biblique à travers le temps et les textes, puis de remarquer les récurrences dans des motifs et thèmes concernant Rachel et Léa. On s'y demande si ces thèmes subissent de modifications dans les diverses sources, comment cela se produit et ce que cela révèle. On tente ensuite d vérifier à travers les entretiens quelles images sont associées à Rachel et Léa de nos jours, comment elles sont perçues, quelle place elles occupent ? Font-elles partie d'un passé lointain ou sont-elles des personnages présents dans la vie des personnes d'aujourd'hui? Et finalement, grâce aux deux pôles, sources écrites e entretiens oraux, on étudie également te rapport entre leur place dans la société juive actuelle et leur place et représentations dans les sources écrites de la tradition juiveThe thesis consists of a thematic exploration of six sources -five textual and one oral. The textual sources are among the most influential in the Jewish tradition: the Bible, the Babylonian Talmud, Midrash Rabba, Rashi’s commentary on the Bible, and the Zohar. As for the Oral source, it consists of interviews with French and Israeli Jews, examining representations of Rachel and Lea's figures. This work addresses initially roles of the two matriarchs in the fundamental texts of the Jewish tradition it next presents study of the development of the biblical story through time and texts. After analysing recurrences of different themes of Rachel and Leah in the various sources, it then examines differences and modifications of these themes, in. Order to understand the reason and meaning of their modifications. It further inquire through interviews about the kinds of images associated with the figures of Rachel and Leah today, how they are perceived, the places they occupy in the interviewee's life, and whether they are considered part of a distant past or relevant today. Finally, it compare between the roles of the two matriarchs in contemporary Jewish society and their role in the textual sources of the Jewish tradition
30
Cowin, Erica. "The evolution of U.S. corporate logos a semiotic analysis." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4875.
Full textAbstract:
The purpose of this study is to examine the evolution of six U.S. corporate logos--Apple, McDonald's, Nike, Pepsi, Shell, and Starbucks--from each logo's inception until the newest version of the graphic emblem today. The objective is to determine the meanings that logos have for a corporation's identity, mission, and relationships, as well as the messages that logos convey to viewers (i.e., mostly customers). By "evolution" of logos here, the researcher means "ongoing transformation" of logos. The semiotic model used in this analysis is Charles Sanders Peirce's (1958(1931)) semiotic framework. Peircean semiotics is made up of a three-part paradigm of signification: the representamen (or the sign itself), the object (or "referent"--what the sign refers to), and the interpretant (the effect on the viewer, or the viewer's interpretation). Based on the semiotic data on logo evolution, the researcher found six main themes that emerged across the analyses of U.S. corporate logos. These themes are (1) Direction toward the Future, (2) Identity with Viewers, (3) Instant Recognition and Distinctiveness, (4) Consistency throughout Evolution, (5) Invocation of Change, and (6) True Representation of Corporate Identity. The ultimate conclusion of this analysis is that the communicative intent of a company, through its logo, tends to take a long time to develop. A successful logo is one that portrays the true objectives and principles of a company. For this reason, the ideal identity of a corporation tends to be built over a long period of time, which makes logo improvement "evolutionary" in nature. In all six cases, communication plays a major part in logo improvement.ID: 029808873; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 87-101).
M.A.
Masters
Communication
Sciences
31
Anderson, Kelly King. "Pretend Play at Home: Creating An Educationally Enriched Environment for Emergent Literacy Among Preschool-Aged Children." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd962.pdf.
Full text
32
Särnbrink, My. "Arns makt : Representationer av makt, positivt kapital och livsmål i berättelserna om tempelriddaren Arn." Thesis, Linköpings universitet, Kultur, samhälle, mediegestaltning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-70805.
Full textAbstract:
Uppsatsen behandlar böckerna och filmerna om Arn och undersöker genom berättelserna vilka representationer av makt, positivt kapital och livsmål som gestaltas. Uppsatsen baseras på den teoretiska tanken att populärkultur innehåller representationer med budskap, värderingar, normer och föreställningar gällande vår verklighet och därigenom påverkar vår uppfattning om världen, vår plats i samhället, vår identitet och vår uppfattning om vad som är värdefullt, viktigt och sant.My Särnbrink hette tidigare My Ravin.
33
Heuer, Thomas. "Plotting Horror." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19947.
Full textAbstract:
Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt.
Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert.
Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
34
Du, Toit Shané. "The lord of the rings : the representation of space in the novel and film texts of The return of the king / Shané du Toit." Thesis, 2014. http://hdl.handle.net/10394/11022.
Full textAbstract:
This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space.
The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world.MA (English), North-West University, Potchefstroom Campus, 2014
35
Huang, Yu-Chun, and 黃佑鈞. "Dealing with Symbolic File Input by Regular Constrained Symbolic Execution." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/16632277040487812020.
Full textAbstract:
碩士國立交通大學
資訊科學與工程研究所
99
Software testing is an important procedure of software development process, and symbolic testing is one of the most important techniques in the domain of software testing. If we can handle symbolic testing with file level, we can process testing directly via standard input rather than modifying source code and marking the symbolic variables. Nowadays, symbolic testing with symbolic files is feasible because of the powerful computing ability and the techniques about reducing constraints. In various symbolic testing tools, KLEE based on the top of LLVM(Low Level Virtual Machine) because that LLVM's assembly level instruction set is independent of programming languages and architectures. KLEE is one of well-developed and famous symbolic tools. However, KLEE does symbolic files testing still have some problems: symbolic files testing cover the C standard library and generate too many execution paths. The result is: (1) Waste a large amount of time and run out of memory when test a source code which is less than 100 lines. (2) The most ratio of test cases which can cover new paths relative testing source code to all test cases is too small. In other words, we spend too much time on generating new paths which cover C standard library. We want to improve the efficiency of generating execution paths by using regular expressions which describes a given format. In this way, we can explore useful execution paths which is covered the new part of source code in short period.
36
Chen, Duan-Tzu, and 陳端慈. "An Analysis of the Early Films of Ang Lee and study of the Sight of Film﹐the Culture of Meaning and Film Symbols of Sight." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/x87fd9.
Full textAbstract:
碩士銘傳大學
媒體空間設計研究所碩士班
92
This essay attempts to decode the “Spatial Culture” and “Genre Formula” which come from the symbols and settings in Ang Lee’s films, by involving the perspectives of Public Space, Space Codify, Space Culturialization, and Consumption Market Globalization. In the past, the studies connected with decoding the film had already been numerous. However, the theories of art, of society, and of gender really affected the average scholar’s interpretation. As Lindsay Anderson’s and Hugo Münsterberg’s viewing the then invention “films, “ the nowadays theories of interpretation have formed: formalism, semiology, psychoanalysis, feminism, cognitive philosophy, and the contemporary novel theories—including cultural studies, queer theory, postcolonial criticism, and digital theory et cetera. Nevertheless, we hardly find the articles compiling the perspectives of public space, semiology, text narrative theory and consumption market civilization. Consequently, for theorizing the study subject of this essay, I will integrate the perspectives of public space, image code, text narrative theory and the market globalization, discussing the “film” by two primary analytic categories: text narrative theory and image code(as content, picture 2-8 or Page. ), and interpreting Director Lee’s early films: “My Father Knows Best”, “The Wedding Banquet” and “Eat, Drink, Man, Woman”. 1. Within the text narrative theory— By applying the narrative, genre formula, and the semiology theory, the subject will be focused on the way of using the text narrative and spatial setting codify in the film text, and on analyzing whether Ang Lee’s narrative text depended on categorization and formulization or not. 2. Within the spatial image code— By the relevant research papers, including spirit of place, local identity and spatial culture code et cetera, and the related theories, including the place and setting, semiology and code theory.
37
PAN, LING-CHEN, and 潘怜蓁. "On the Taiwanese film “Our Times” in View of Symbolic Aesthetics." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3qj9s8.
Full textAbstract:
碩士國立高雄師範大學
表演藝術碩士學位學程
106
Abstract It has marked a turning point for the Taiwanese film since 2008, which may as well be considered as Taiwan Film Renaissance. During the period of time, the film style has been featured with realism, and the film theme has reflected current culture and society, which is emotionally-related to the audience. The film technique has been innovated, which enriches image color and emotional consciousness in terms of film art, resulting in a profoundly audio-visual expression in the film text. A case study is therefore conducted in this research, taking the Taiwanese film “Our Times” for example. Based on the concept of “image symbolism in cinematic text”, this research analyzes the film by using theories such as film semiotics, narratology, and film aesthetics. The research investigates in all aspects of image symbolism amongst the cinematic text. Methods like textual analysis and case study are utilized to probe and interpret the connotation revealed by image symbolism. Moreover, the analysis is meant to reflect on the relationship amongst image symbolism, culture and the society. The specific research theme includes image analysis and plot analysis to investigate different aspects. Eventually, a variety of image symbolism in the cinematic text of the Taiwanese movie “Our Times” will be summarized and analyzed, in order to interpret the image connotation and cultural connotation hidden and implied in the text. For the analysis on the film in discussion, it is based on the content architecture of Chapter Two “Literature Review.”Furthermore, the main argument in Chapter four “Research Case Study” elaborates further with diagrams and tables, and enlists symbolic designs of scenes, characters, props and music in the scope of film semiotics. That is, the main argument takes Chapter Three “Film Narrative Semiotics” as a research method, and uses “film semiotics” as theory foundation to make semantic analysis of image symbols in the cinematic text for the film in discussion. Finally, the characterization and embodiment of symbolic language in film art is summarized to demonstrate the symbolic metaphor, the social-cultural impact, and the importance of symbolic emotion connotation revealed by the film in discussion. The research results are as follows: 1. Image symbolism and narrative structure represent the specific expression in film art. The meaning to study films in the perspective of semiotics lies in that the analysis upon object symbols in a film can explore the spiritual essence of it. Furthermore, the visual art is able to express social-cultural symbolic semantics. That is, within the narrative structure of cinematic text, the scenes, characters, props in a film can express the element of symbolism in film art. 2. The importance and impact of nostalgic culture is implicated in film art. In the basis of the theory analysis in Chapter Three “Film Narrative Semiotics,” the research focuses on making semantic analysis upon image language. The artistic expression is furthermore turned into information communication. Thus, the cinema has become a trend in the multi-culture society. The nostalgic wave appeared in the Taiwanese film “Our Times” has encouraged emotional projection of society and humanities. The film has embodied “nostalgic culture” as an important part in the audience’s life aesthetics. The film will also influence “nostalgic aesthetics” in life from the perspective of film art. Three recommendations for future research in the Taiwanese film study are as the following: 1. The range of research on the Taiwanese film semiotics can be expanded to the Taiwanese films of twenty-first century or the other films by the director of “Our Times”, Frankie Chen. It is also suggested that a different research purpose can be achieved by utilizing different theories. Systematically data analysis is highly recommended on image symbolism and narratology to reveal the connotation of film art. Moreover, it is recommended to explore the aesthetic style of image symbolism in visual and audio elements. 2. The interpretation of the style of the Taiwanese film is not unanimous. Therefore, through systematic research method on films from different periods of time, analysis can be made regarding symbolism in every aspect of film art to realize its connotation of symbolic aesthetics in terms of cinematic visual language. It is recommended to set up a context for film symbolic aesthetics so as to undergo case analysis or comparative analysis on film art style. 3. The research uses the Taiwanese film “Our Times” as a single case analysis. In view of the analysis on the content architecture, the results of the research will provide the future films with reference of production practices.
38
Murrill, Wayne. "Brockton Secondary College short film festival: a celebration." 2009. http://repository.unimelb.edu.au/10187/7104.
Full textAbstract:
Every so often, education is marked by critical events that invoke profound changes in both teachers and students. This study proposes that the “Boscars” -Brockton Oscars- a local presentation of student film and dance is a critical event for those involved. In contrast to conventional routine processes and accumulation of learning, these events represent a flashpoint in our educational lives. Critical events pertain to deep personal meaning and agency. This research investigates the Boscars. This retrospective study is one of interactive ethnography which has strong affinity with symbolic interactionism using a range of qualitative techniques on an event in the recent past. The work was collaborative. Teachers, pupils and other critical agents worked with the researcher to reconstruct and analyse the event with the general purpose of informing and improving local educational practice. It is a celebratory account focused on expressive outcomes, drawing in large measure on teacher and pupil articulations. Respondent validation was important within the context of other tests of validity. One of these tests is the ability of the research to strengthen the participants in their work and to influence other practitioners – in other words for the research to share the criticality of the event. These criteria apply to the extent to which the account facilitates the drawing of inferences that may have application in other contexts or situations. For the student and teacher authors in this research it is an exercise in writing historical memory.
39
Chen, Yun-Sheng, and 陳韻笙. "Discuss on Memory Pineal, animated symbolic imagery and using of metamorphosis of the film." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/23487588229397292895.
Full textAbstract:
碩士國立臺南藝術大學
動畫藝術與影像美學研究所
104
Abustract This discuss is from my past experience, in my past works the main topics theme peripheral to the “humanity”, and to face self or external effect. In “Memory Pineal” story combine the man's dream and memory, transform to some strong visual message. This story combine with three visual style to convey the feeling in this story. In the first chapter, I illustrate how was my visual style become. The second chapter to resolution how “Memory Pineal” engendered .The third chapter analyzes “Memory Pineal” style、symbolic imagery、metamorphosis and behind the scenes. The final two chapter is about in this work what I gained and realize, and my future arranged of being independents animator or illustrator.
40
Welsh, Michael Tyler. "Symbolic heroes : superhero films in a post 9/11 world." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5241.
Full textAbstract:
This thesis seeks to offer a rhetorical explanation to the sudden rise of superhero films in the wake of the 9/11 terrorist attacks. This study draws on the theoretical writings of Kenneth Burke and his concepts of equipment for living and form. I argue through the rhetorical usage of form these films have constructed symbols that respond to the trauma and fears audiences experience living in the context of a post 9/11 world. Chapter one outlines a historical literature review tracing the origins of superhero films to their literary roots in comic books. This literature review outlines the history of comic book characters addressing social fear and trauma throughout the United States' history and suggests that superhero movies continue this tradition through the visual medium of film. Chapter two constructs a methodology in which to critically examine these films. The chapter outlines Burke's concept of the Symbol and Barry Brummett's notion of the rhetorical homology. With this methodology in place, chapter three and four present case studies explicating how form manifests itself in specific superhero films and explores the rhetorical influence these movies have on audiences. Chapter three examines the Symbol that is found within three films: Batman Begins, The Dark Knight, and Spider-man. Chapter four looks critically at the rhetorical homology that exists between the film 300 and the Bush administrations justification of the Iraq invasion. Furthermore, chapter four defines the Mask found in V for Vendetta as a site for political protest and a rhetorical source of empowerment for the disenfranchised. The concluding chapter investigates the ramifications of these symbols and critiques the messages some of them suggest to audiences and also discusses the opportunity for further research in the subject area.text
41
Greil, Hannes [Verfasser]. "Liebe in "Big Brother" : Liebe als medial generiertes Kollektivabstraktum ; der Wandel der öffentlichen Symbolik einer intimen Befindlichkeit im Fenster des Sendeformats Doku-Soap / Hannes Greil." 2004. http://d-nb.info/972194045/34.
Full text
42
Schieblová, Veronika. "Zobrazení ďábla v současném filmovém umění." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313412.
Full textAbstract:
The thesis "The Devil as Portrayed in Contemporary Film Art. Focused on American and British Production from the 60s until the Present" discusses the portrayal of the Devil in contemporary American and British film. The work is divided into two main parts. The theoretical part summarizes the concept of the Devil from the perspective of different religions, followed by a chapter on the concept of the Devil in the visual arts. The practical part of the work analyzes films that represent the Devil as a man or a zoomorphic creature, films dealing with exorcism, and finally films that portray the Devil as the Antichrist. The work examines the symbols used in films to capture the Devil in its entirety. It deals primarily with the Devil's appearance, character and power as well as the methods used to demonstrate this power. The analysis of the filmmakers' interpretation is then compared with the Devil as portrayed in traditional religion and art. The goal is to systematically develop an overview of the Devil as a recurring character in contemporary film art and at the same time examine the relationship between film, religious and artistic conceptions of the Devil.
43
Pascoe, Gerald James. "A qualitative textual and comparative analysis of the representation of masculinity in the action and romantic comedy genres." Diss., 2013. http://hdl.handle.net/10500/9027.
Full textAbstract:
This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity.
In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992).
The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity.Communication Science
M.A. (Communication)
44
Mik, Anna. "Signs of Exclusion. Monsters Inspired by Greek and Roman Mythology as Symbols of Rejected Minorities in Literature, Film, and TV-Series for Children and Young Adults: From Mid-20th Until Early 21st Century." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3858.
Full text
45
Lévesque, Nicolas. "La relation entre l’attachement et la représentation de la figure paternelle dans le jeu symbolique du garçon d’âge préscolaire." Thèse, 2009. http://hdl.handle.net/1866/3476.
Full textAbstract:
Cette recherche a été inspirée par les travaux de John Bowlby sur l’attachement ainsi que par les écrits psychanalytiques de Sigmund Freud et de Donald Winnicott sur le développement de la relation père-garçon. Trois objectifs ont été formulés dans la présente étude : A) Les jeunes garçons d’âge préscolaire pourraient-ils projeter, à travers quelques sessions de jeu symbolique libre, leurs représentations paternelles? B) S’ils les projettent, quelle est la nature de ces représentations paternelles? C) Existe-t-il une relation entre le type d’attachement (évalué par un instrument standard) et les représentations paternelles projetées dans le jeu symbolique libre?
Dix garçons de quatre ans ont été filmés à la maison et dans une garderie pendant, en moyenne, quatre sessions totalisant par enfant, une durée moyenne de deux heures trente minutes de jeu symbolique. Le type d’attachement a été évalué à l’aide de l’Attachment Story Completion Task. Les résultats démontrent que l’ensemble des garçons ont été en mesure de projeter des représentations paternelles basées sur la figure du père. Tous ces garçons ont perçu le père comme une figure de protection et huit enfants sur dix ont exprimé verbalement leur attachement à ce dernier. Un enfant de type évitant (type A) n’a pas évoqué la figure du père dans son jeu. Ce père était rarement à la maison pour s’occuper de son garçon. Enfin, le dernier enfant, de type ambivalent (un enfant particulièrement agressif de type C), a présenté dans son jeu des interactions négatives avec le père et ce, tout au long des sessions de jeu symbolique. Il appert ainsi que le jeu symbolique permet à l’enfant de projeter des représentations de la figure
paternelle. Ces représentations sont en lien avec le type d’attachement que l’enfant détient au moment de l’évaluation.This research was inspired by the work of John Bowlby on infant attachment and the psychoanalytic writings of Freud and Winnicott on the father figure. Three objectives were formulated for this exploratory study; a) Will the young preschool boy spontaneously project his paternal representations in the context of a series of symbolic free play sessions? b) If so, what is the nature of the paternal representations? c) Is there a relationship between the type of attachment as evaluated with a standardized instrument and the paternal representation projected into the free play sessions? Ten four year old boys were filmed in their own homes and in the daycare setting during an average of four sessions each for a total of two and a half hours. The type of attachment was evaluated with the Attachment Story Completion Task. The results showed that all of the boys were capable of projecting paternal representations onto the father figures. All of the children perceived these figures as a source of protection and eight out of ten verbally expressed their attachment to them. One insecure boy (type A) did not invoke the father figure in his play and in real life his father was rarely at home. The remaining insecure boy (a very angry type C) showed consistent negative interaction with the father figure throughout the sessions. It seems that the symbolic play allow the child to project adequatly the representation of the father figure. These representations are linked to the attachment type that the children possessed at the moment of the evaluation.
46
Ackermann, Jacobus Gideon. "Evaluating reasoning heuristics for a hybrid theorem proving platform." Diss., 2018. http://hdl.handle.net/10500/25869.
Full textAbstract:
Text in English with abstracts in English, Afrikaans and isiZuluThe formalisation of first-order logic and axiomatic set theory in the first half of the 20th century—along with the advent of the digital computer—paved the way for the development of automated theorem proving. In the 1950s, the automation of proof developed from proving elementary geometric problems and finding direct proofs for problems in Principia Mathematica by means of simple, human-oriented rules of inference. A major advance in the field of automated theorem proving occurred in 1965, with the formulation of the resolution inference mechanism. Today, powerful Satisfiability Modulo Theories (SMT) provers combine SAT solvers with sophisticated knowledge from various problem domains to prove increasingly complex theorems. The combinatorial explosion of the search space is viewed as one of the major challenges to progress in the field of automated theorem proving. Pioneers from the 1950s and 1960s have already identified the need for heuristics to guide the proof search effort. Despite theoretical advances in automated reasoning and technological advances in computing, the size of the search space remains problematic when increasingly complex proofs are attempted. Today, heuristics are still useful and necessary to discharge complex proof obligations. In 2000, a number of heuristics was developed to aid the resolution-based prover OTTER in finding proofs for set-theoretic problems. The applicability of these heuristics to next-generation theorem provers were evaluated in 2009. The provers Vampire and Gandalf required respectively 90% and 80% of the applicable OTTER heuristics. This dissertation investigates the applicability of the OTTER heuristics to theorem proving in the hybrid theorem proving environment Rodin—a system modelling tool suite for the Event-B formal method. We show that only 2 of the 10 applicable OTTER heuristics were useful when discharging proof obligations in Rodin. Even though we argue that the OTTER heuristics were largely ineffective when applied to Rodin proofs, heuristics were still needed when proof obligations could not be discharged automatically. Therefore, we propose a number of our own heuristics targeted at theorem proving in the Rodin tool suite.
Die formalisering van eerste-orde-logika en aksiomatiese versamelingsteorie in die eerste helfte van die 20ste eeu, tesame met die koms van die digitale rekenaar, het die weg vir die ontwikkeling van geoutomatiseerde bewysvoering gebaan. Die outomatisering van bewysvoering het in die 1950’s ontwikkel vanuit die bewys van elementêre meetkundige probleme en die opspoor van direkte bewyse vir probleme in Principia Mathematica deur middel van eenvoudige, mensgerigte inferensiereëls. Vooruitgang is in 1965 op die gebied van geoutomatiseerde bewysvoering gemaak toe die resolusie-inferensie-meganisme geformuleer is. Deesdae kombineer kragtige Satisfiability Modulo Theories (SMT) bewysvoerders SAT-oplossers met gesofistikeerde kennis vanuit verskeie probleemdomeine om steeds meer komplekse stellings te bewys. Die kombinatoriese ontploffing van die soekruimte kan beskou word as een van die grootste uitdagings vir verdere vooruitgang in die veld van geoutomatiseerde bewysvoering. Baanbrekers uit die 1950’s en 1960’s het reeds bepaal dat daar ’n behoefte is aan heuristieke om die soektog na bewyse te rig. Ten spyte van die teoretiese vooruitgang in outomatiese bewysvoering en die tegnologiese vooruitgang in die rekenaarbedryf, is die grootte van die soekruimte steeds problematies wanneer toenemend komplekse bewyse aangepak word. Teenswoordig is heuristieke steeds nuttig en noodsaaklik om komplekse bewysverpligtinge uit te voer. In 2000 is ’n aantal heuristieke ontwikkel om die resolusie-gebaseerde bewysvoerder OTTER te help om bewyse vir versamelingsteoretiese probleme te vind. Die toepaslikheid van hierdie heuristieke vir die volgende generasie bewysvoerders is in 2009 geëvalueer. Die bewysvoerders Vampire en Gandalf het onderskeidelik 90% en 80% van die toepaslike OTTER-heuristieke nodig gehad. Hierdie verhandeling ondersoek die toepaslikheid van die OTTER-heuristieke op bewysvoering in die hibriede bewysvoeringsomgewing Rodin—’n stelselmodelleringsuite vir die formele Event-B-metode. Ons toon dat slegs 2 van die 10 toepaslike OTTER-heuristieke van nut was vir die uitvoering van bewysverpligtinge in Rodin. Ons voer aan dat die OTTER-heuristieke grotendeels ondoeltreffend was toe dit op Rodin-bewyse toegepas is. Desnieteenstaande is heuristieke steeds nodig as bewysverpligtinge nie outomaties uitgevoer kon word nie. Daarom stel ons ’n aantal van ons eie heuristieke voor wat in die Rodin-suite aangewend kan word.
Ukwenziwa semthethweni kwe-first-order logic kanye ne-axiomatic set theory ngesigamu sokuqala sekhulunyaka lama-20—kanye nokufika kwekhompyutha esebenza ngobuxhakaxhaka bedijithali—kwavula indlela ebheke ekuthuthukisweni kwenqubo-kusebenza yokufakazela amathiyoremu ngekhomyutha. Ngeminyaka yawo-1950, ukuqinisekiswa kobufakazi kwasuselwa ekufakazelweni kwezinkinga zejiyomethri eziyisisekelo kanye nasekutholakaleni kobufakazi-ngqo bezinkinga eziphathelene ne-Principia Mathematica ngokuthi kusetshenziswe imithetho yokuqagula-sakucabangela elula, egxile kubantu. Impumelelo enkulu emkhakheni wokufakazela amathiyoremu ngekhompyutha yenzeka ngowe-1965, ngokwenziwa semthethweni kwe-resolution inference mechanism. Namuhla, abafakazeli abanohlonze bamathiyori abizwa nge-Satisfiability Modulo Theories (SMT) bahlanganisa ama-SAT solvers nolwazi lobungcweti oluvela kwizizinda zezinkinga ezihlukahlukene ukuze bakwazi ukufakazela amathiyoremu okungelula neze ukuwafakazela. Ukukhula ngesivinini kobunzima nobunkimbinkimbi benkinga esizindeni esithile kubonwa njengenye yezinselelo ezinkulu okudingeka ukuthi zixazululwe ukuze kube nenqubekela phambili ekufakazelweni kwamathiyoremu ngekhompyutha. Amavulandlela eminyaka yawo-1950 nawo-1960 asesihlonzile kakade isidingo sokuthi amahuristikhi (heuristics) kube yiwona ahola umzamo wokuthola ubufakazi. Nakuba ikhona impumelelo esiyenziwe kumathiyori ezokucabangela okujulile kusetshenziswa amakhompyutha kanye nempumelelo yobuchwepheshe bamakhompyutha, usayizi wesizinda usalokhu uyinkinga uma kwenziwa imizamo yokuthola ubufakazi obuyinkimbinkimbi futhi obunobunzima obukhudlwana. Namuhla imbala, amahuristikhi asewuziso futhi ayadingeka ekufezekiseni izibopho zobufakazi obuyinkimbinkimbi. Ngowezi-2000, kwathuthukiswa amahuristikhi amaningana impela ukuze kulekelelwe uhlelo-kusebenza olungumfakazeli osekelwe phezu kwesixazululo, olubizwa nge-OTTER, ekutholeni ubufakazi bama-set-theoretic problems. Ukusebenziseka kwalawa mahuristikhi kwizinhlelo-kusebenza ezingabafakazeli bamathiyoremu besimanjemanje kwahlolwa ngowezi-2009. Uhlelo-kusebenza olungumfakazeli, olubizwa nge-Vampire kanye nalolo olubizwa nge-Gandalf zadinga ama-90% kanye nama-80%, ngokulandelana kwazo, maqondana nama-OTTER heuristics afanelekile. Lolu cwaningo luphenya futhi lucubungule ukusebenziseka kwama-OTTER heuristics ekufakazelweni kwamathiyoremu esimweni esiyinhlanganisela sokufakazela amathiyoremu esibizwa nge-Rodin—okuyi-system modelling tool suite eqondene ne-Event-B formal method. Kulolu cwaningo siyabonisa ukuthi mabili kuphela kwayi-10 ama-OTTER heuristics aba wusizo ngenkathi kufezekiswa isibopho sobufakazi ku-Rodin. Nakuba sibeka umbono wokuthi esikhathini esiningi ama-OTTER heuristics awazange abe wusizo uma esetshenziswa kuma-Rodin proofs, amahuristikhi asadingeka ezimweni lapho izibopho zobufakazi zingazenzekelanga ngokwazo ngokulawulwa yizinhlelo-kusebenza zekhompyutha. Ngakho-ke, siphakamisa amahuristikhi ethu amaningana angasetshenziswa ekufakazeleni amathiyoremu ku-Rodin tool suite.
School of Computing
M. Sc. (Computer Science)
47
Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.
Full textAbstract:
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.