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Dissertations / Theses on the topic 'The Hollywood films of the 1980s'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate fe

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2

Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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3

Stanfield, Peter. "Dixie cowboys : Hollywood and 1930s westerns." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285389.

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4

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

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Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Rea

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5

Ben, Mna Ilias [Verfasser]. "Echoes of Reaganism in Hollywood Blockbuster Movies from the 1980s to the 2010s." Berlin : Humboldt-Universität zu Berlin, 2021. http://d-nb.info/1227300867/34.

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6

Mazdon, Lucy. "Translation and nation : Hollywood remakes of French films, 1980-1996." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241735.

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7

Warwick, Harry. "The aesthetics of enclosure : dystopia and dispossession in the 1980s Hollywood science-fiction film." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427159/.

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As an increasing body of historical and economic scholarship attests, the processes Marx placed under the heading of 'primitive accumulation', and which he saw as the precondition of capitalism, continue today in a particularly intense form. If Marx's main example in Capital, Volume 1 (1867) was the enclosure of English land from the late fifteenth century, now scholars can point to the expansion of intellectual property rights, the privatisation of water and other public services, the sale of the US national forests, the imposition of 'structural adjustment programmes', and the war in Afghani

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8

Egerton, Jodi Heather. ""Kush mir in tokhes!" : humor and Hollywood in Holocaust films of the 1990s /." Thesis, Electronic version from University of Texas Libraries, 2006. http://www.lib.utexas.edu/etd/d/2006/egertond25518/egertond25518.pdf#page=3.

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9

Tanaka, Elder Kôei Itikawa. "Inimigos públicos em Hollywood: estratégias de contenção e ruptura em dois filmes de gângster dos anos 1930-1940." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29082016-114306/.

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O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de se

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10

Kvet, Bryan W. "Red and White on the Silver Screen: The Shifting Meaning and Use of American Indians in Hollywood Films from the 1930s to the 1970s." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449250157.

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11

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

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12

Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.

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13

Rossi, Samuel E. "Reagan, Rambo, and the Red Dawn." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180975486.

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14

Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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15

Ndounou, Monica. "The color of Hollywood: The cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180535612.

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16

Symmons, Tom. "The historical film in the era of New Hollywood, 1967-1980." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8630.

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This thesis is the first sustained analysis of historical films made in the New Hollywood era (1967-80). It explores the mediation of the era’s social, cultural and ideological concerns in feature films that represent key periods in American history. The terms New Hollywood and the historical film are utilised with revisionist aims. As well as considering the new wave of ‘auteur’ cinema synonymous with the New Hollywood, the thesis demonstrates the diverse range of films produced in this era. Similarly, it rejects the boundary drawing practiced by many studies of history and film, and submits

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17

O'Neill, Patrick. "Investigating the 1980s Hollywood teen genre : adolescence, character, space." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/35777/.

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The 1980s Hollywood teen genre is a topic which has not attracted significant academic interest in the context of doctoral research. Only recently have writers focused on this period in wider scholarly texts, often positioned in relation to other periods of the teen genre, but not extensively concentrating on the 1980s. This research will address what is a lack of detailed analysis of this cinematic era and offer a contribution to knowledge in terms of Hollywood genre cinema. The aim of this thesis is to argue that teen films produced during the 1980s effectively represent youth concerns and t

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18

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.

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19

McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.

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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American

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20

McKenzie, Mark D. "Schooling's golden rule days on Hollywood's Silver Screen: metaphoric "Re-Presentation" of schooling in films of the 1920s and 1930s /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487930304688443.

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21

Ghai, Tara. "Fantasy films of the 1980s." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3551.

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Fantasy films have been a part of cinema since the very beginnings of the medium. Although fantasy films can be found in every decade of the last century, the genre only became persistently successful from the late 1970s onwards. Perhaps the relatively recent prominence of fantasy goes some way to explain why the genre lacks the academic discourse that other film genres have encouraged. Another reason why fantasy has evaded considerable discussion as a genre could be because of the difficulty in defining it. Fantasy can encompass numerous types of films, and features an array of different them

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22

Ould, Meiloud Ahmed. "The image of Arabs in Hollywood films." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1445035141&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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23

Naylor, Alexandra Mary Patricia. "Discourses of affect in the 1930s Hollywood horror film cycle and in its aftermath to 1943." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446035/.

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My PhD is a study of discourses of affect in the 1930s Hollywood horror cycle, which ran from 1931 to 1936, and the aftermath and conclusion of disputes related to such discourses which played out in the period from 1936 to 1943. I engage in a historicist study which examines the cycle's the production, censorship and reception context in order to consider the role played by various discourses of affect in the cycle's development, and the controversy surrounding it. I examine in particular how the wider cinema censorship crisis of the 1930s played into the cycle, concentrating on case studies

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24

Skov, Adam Vincent. "China's Influence on Hollywood." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460984628.

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25

Shanadi, Govind. "Hollywood representations of biotechnology /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421624771&sid=3&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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26

Brown, Bryan. "Addicted to the Addict: Hollywood's Sinuous Relationship With the Drug-Addict in the 1970s." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/906.

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This study explores how the representation of the drug-addict in Hollywood cinema has changed due to governmental and studio policy change, social shifts of opinion, and economic structure. This discussion and exploration primarily focuses upon narrative Hollywood film as this industry has a long and varied history of addiction films. While there have been a variety of shifts in the depiction of drug-addiction due to social changes and industry regulation, perhaps at no other time in cinema history has the culmination of economics, politics, and independent art had such a large impact on the d

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27

Cormack, Michael James. "Ideology and cinematographic style in Hollywood films of the Thirties." Thesis, University of Stirling, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236026.

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28

Rafferty, James Michael. "Politicising stardom : Jane Fonda, IPC Films and Hollywood, 1977-1982." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/675.

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This thesis is an empirical analysis of Jane Fonda’s films, stardom, and political activism during the most commercially successful period of her career. At the outset, Fonda’s early stardom is situated in relation to contemporaneous moral and political ideologies in the United States and how she functioned as both an agent and symbol of these ideologies. Her anti-war activism in the early-1970s constituted the apex of Fonda’s radicalisation and the nadir of her popular appeal; a central question of this thesis, therefore, is how her stardom was rehabilitated for the American mainstream to the

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29

Pillai, Nicolas. "The happy couple : American marriages in Hollywood films 1934-1948." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50024/.

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This thesis examines Hollywood narratives of married life produced between 1934 and 1948. Using Stanley Cavell’s seminal Pursuits of Happiness as a point of departure, I compare the depiction of benign domesticity across four chapters. Combining textual analysis, genre criticism and studio archival research, I re-evaluate Cavell’s notion of ‘films in conversation’, and suggest that narratives of marriage call for an approach that considers intertextuality, audience address and the interaction of star personae. My first two chapters focus on MGM’s six Thin Man films, discussing an ongoing serie

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30

Polihronis, Andreas. "Reclaiming the popular : perception and reception of Hollywood film." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310236.

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31

Barefoot, Guy. "Hollywood's gaslight melodramas, 1944-50 : critical theory, industrial practice and cultural context." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296311.

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32

O'Reilly, Jean Elizabeth. "Formula and convention in the narrative structure of 'Ruggles of Red Gap'." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267524.

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33

Higbee, William Edward. "Marginality and ethnicity in French cinema of the 1980s and 1990s." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364416.

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34

Bernard, Kaitlin. "Between Reality and Realism: CGI and Narrative in Hollywood Children's Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19879.

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This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is sho

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35

Hunter, Aaron Mark. "Authoring new Hollywood : auteurs, canons, and the films of Hal Ashby." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601784.

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Hal Ashby's career as a Hollywood film director and the films he directed have been largely marginalized in the critical discourse on the New Hollywood era. While interest in Ashby has shown some recent signs of increasing. during m OSI of the thirty years since the end of New Hollywood, scholarship has struggled to accommodate him or his films in received definitions of New Hollywood. A period that has been the focus of increased scholarly attention, New Hollywood is regularly described as an era of great directors, auteurs whose practise was driven by and constructed upon their individual ta

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36

Blankschen, Michael P. "The image of the mental health professional in contemporary Hollywood films." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902504.

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The focus of this study was to explore the film image of the mental health professional (MHP) in importance of this study is founded upon the assumption that many film viewers' perceptions and expectations of the mental health profession and the process of psychotherapy and counseling are influenced by these film images.A total of seventeen films were identified. Of these, eight were randomly selected for a content analysis. A prevailing film image of the MHP and MHP's client was obtained. Following the content analysis, the films selected were further analyzed using a hermeneutic approach, wh

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37

Figueiredo, Camila Augusta Pires de. "Hollywood goes graphiC: the intermedial transposition of graphic novels to films." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-84ZQTQ.

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Comic books have always been consigned the children's shelves at libraries and bookstores. Recently, however, a massive publishing of comic books designed for the adult audience called graphic novels has caught the attention of academics, critics and the film industry. Despite the existence of a vast theoretical bibliography of screen adaptations based on novels, those theories can not be satisfactorily applied to the analysis of films based on comics and graphic novels, since they do not conceive, among other aspects, the translation of the drawing image in comics to the photography of film.

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38

Yogalingam, Sharmila Melissa. "Images of the Japanese in popular Hollywood films from 1940-1995." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35879/1/35879_Yogalingam_1995.pdf.

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This thesis springs from a concern with the representation of Asians in the cinema of the developed world. Like many other Asians I have over the years been infuriated and exasperated and occasionally delighted by the way in which we are portrayed in Western films.

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39

Handyside, Fiona Jean. "Femininity, stardom and the everyday : a comparative account of the French female cinema star and the Hollywood female cinema star in French cultural discourses of the 1950s." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1694.

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This thesis explores the links between ideology, stardom, nationality and the everyday. It argues that as France underwent rapid economic expansion and technical modernisation in the 1950s, everyday life was subsequently rendered `unfamiliar' whilst simultaneously retaining its banal quotidian nature or `familiarity' - i.e. it became `uncanny'. It thus became an object of intense critical inquiry and there was also a resulting object-fetishisation within mass culture. The introductory chapter argues that in a climate of urbanisation, a new `leisure' culture and the explosion of the mass media

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40

Vasey, Ruth Llewellyn. "Diplomatic representations : mediations between Hollywood and its global audiences, 1922-1939." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277208.

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41

Yu, Julia. "Translating the Language of Film: East Asian Films and Their Hollywood Remakes." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/138.

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Hollywood remakes of East Asian films clearly change more than just the language of a film, and the choices that producers and directors make in order to tailor a foreign film so that it better appeals to American audiences creates an entry point that allows for a more direct comparison of aesthetic styles, cultural tastes, and narrative conventions. An analysis of two case studies, South Korean hit film My Sassy GIrl (2001) and Hong Kong's Infernal Affairs trilogy (2002, 2003, 2003) remade into My Sassy Girl (2008) and The Departed (2006), explores the principles of Korean and Hong Kong comme

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42

Swank, Allison. "This is Africa: Whiteness and Representations of the other recent Hollywood Films." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3568.

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This mini-dissertation interrogates racial representations in two recent Hollywood films, The Last King of Scotland (2006) and Blood Diamond (2006). Drawing heavily from Richard Dyer's key theories on the white heterosexual male image in film, I look specifically at representations of whiteness in both films' male protagonists: Dr. Nicholas Garrigan (Last King) and Danny Archer (Blood Diamond). Both men use the phrase, 'This is Africa' (TIA) in conversation with white foreigners to enunciate some supposedly enduring characteristics of Africa that mark its essential difference from what exists

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43

Young, Nerys. "Captive city, captive audience : the Kefauver hearings and representations of the Hollywood gangster." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252428.

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44

Maltezos, Chris Steve. "The Return of the 1950s Nuclear Family in Films of the 1980s." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3230.

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Abstract In the 1980s the cinematic nuclear family flourished again after the self-explorative 1960s and turbulent 1970s. This thesis explores the portrayal of the idealized American family in film between the 1950s and 1980s. The 1955 film Rebel Without a Cause reflects the 1950s cinematic family model. My investigation includes the role of the father figure and the bonds in intergenerational relationships. During the early 1980s, films such Ordinary People and ET: The Extraterrestrial reflect the need to reevaluate the 1950s ideal nuclear family. My examination of these films continues

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45

Olson, Eric Lars. "Great Expectations: The Role of Myth in 1980s Films with Child Heroes." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/32929.

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This study performed a mythic analysis on three films with child heroes including E.T. the Extra-Terrestrial, Stand by Me, and The Goonies. Several unifying themes were extracted and then compared with the dominant values of Reagan America to determine if these films provided a unique cultural outlook. While most of the uncovered themes have been recognized in other films of the era, the theme of childhood as a community in peril is unique. It is purported these films pass judgment on Reagan as a dubious national patriarch, and that it is possible that this is a function that many myths

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46

Wong, Yee-ling, and 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988),

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47

Fagan, Kara Elizabeth. "The spectacle of female athleticism in classic Hollywood, 1935-1955." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2073.

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Focusing on classic Hollywood, I contend that overly narrow concepts of both “sport” and “sport(s) film” have contributed to the scholarly neglect of key texts and characters from this period. Just as a wider analysis of the history of women’s athletic participation has expanded definitions of “sport,” scholars need to consider examples that complicate conventional understandings of sport films. This dissertation focuses on the female athletic performances during the studio era that -- precisely because they deviate from t

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48

McKahan, Jason Grant. "Hollywood counterterrorism: violence, protest and the Middle East in U.S. action feature films /." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-11162009-124125/.

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Thesis (Ph. D.)--Florida State University, 2009.<br>Advisor: Andrew Opel, Florida State University, College of Communication and Information, School of Communication. Title and description from dissertation home page (viewed on May 26, 2010). Document formatted into pages; contains x, 370 pages. Includes bibliographical references.

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49

Lammes, Sybille. "In het laboratorium van de science fiction film technowetenschap in vooroorlogse Hollywood films /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2002. http://dare.uva.nl/document/63401.

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50

Butler, Faith J. "Hollywood films, reflective practice, and social change in teacher education : a Bahamian illustration." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36880.

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This qualitative inquiry explores the use of Hollywood films depicting teachers (teacher-films) as an approach to reflective practice and social change with 60 undergraduate students in a teacher education programme in the Bahamas. In order to facilitate critical reflection on the preservice teachers' perceptions of teaching, on themselves as teachers, and on their teaching experience, a module comprised of five teacher-films (To Sir With Love, Blackboard Jungle, Stand and Deliver, The Prime of Miss Jean Brodie, and SARAFINA!) is designed and employed. The depictions of teaching are deconstruc

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