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Dissertations / Theses on the topic 'Western films'
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Moser, Evelyn Christine Busch. "Heroines in western films /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209133.
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Thesis (Ph. D.)--University of Nevada, Reno, 2005."August 2005." Includes bibliographical references (leaves 237-246). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Tse, Wing-cheung, and 謝詠章. "The representations of angels in western films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B22200836.
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Tse, Wing-cheung. "The representations of angels in western films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200836.
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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.
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Lee, Ji Yeon. "Travelling films : western criticism, the labelling practice and self-orientalised East Asian films." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423030.
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This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. This thesis thus brings out how 'Orientals' participate in the formation and maintenance of Orientalism via selfOrientalism or self-Orientalising strategies. As Edward Said (1978; 1985) remarks, 'Orientals' adopt the terms and premises of Orientalism and use them in exactly the same way, or reverse them. Vis-a-vis this point, this thesis shows that self-Orientalism, as a response to Orientalism, is mediated by its relationship with the national and historical contexts of a particular society. Western Orientalism does not fully determine how 'Orientals' define their own culture and respond to Oriental ism. This thesis shows that a national film industry can more easily break into the international film market if internationally recognised auteur directors from the particular country have been recognised at international film festivals. This thesis elucidates the practice of labelling foreign films categorised as 'national cinema' and 'art cinema'. While Hollywood films are assumed to possess 'universality', the international art-house circuit and film festival circuits label films from other countries by their specific nationality or national culture, which is assumed to be reflected in high/traditional art. In this circuit, the names of 'auteur' directors from each country act as brand names, moulding audiences' expectations of films from a specific country. Film festivals, meanwhile, seek to become sites for 'discovering' supposedly unknown auteur directors and national cinemas.
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Nelson, Andrew Patrick. "Revision and regeneration in the American Western, 1969-1980." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3029.
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This is an analysis of the Western genre between 1969 and 1980, a period characterized by the release of a select number of 'revisionist' Westerns like The Wild Bunch (1969), Little Big Man (1970) and McCabe & Mrs. Miller (1971). Made by filmmakers associated with the Hollywood Renaissance, these Westerns are celebrated for openly critiquing the ethos of the mythic American West and appropriating the genre’s conventions for social commentary. This study argues that the veneration of this canon of films has resulted in a distorted and incomplete picture of the Western at the time, which has consequences for cultural histories that read Westerns as a reflection of American society. Drawing on an extensive viewing of Westerns released in and around the period in question, this project seeks to uncover the complexity and multiplicity of the Western of the time. It reconsiders the genre’s relationship with American history and politics, including the plight of the American Indian and America’s military involvement in Vietnam; examines the changing representations of frontier heroes Wyatt Earp and Jesse James; draws attention to a number of neglected or misinterpreted movies and trends, including the later Westerns of actor John Wayne; and dispels the idea that the disastrous Heaven’s Gate (1980) was responsible for “killing” the Western. These analyses reveal not only connections between canonical and lesser-known works, but also continuities between these and older Westerns – an ongoing, cyclical process of regeneration that transcends established divisions in the genre’s history. In doing so, the project works revise our understanding of the Western of this period, and to add to our knowledge of the genre as a whole.
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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.
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Smith, Travis W. "Place images of the American West in Western films." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34453.
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Doctor of PhilosophyDepartment of Geography
Kevin Blake
Jeffrey S. Smith
Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico. The filming locations spotlight majestic mountain backgrounds, impressive rock formations, dangerous deserts, sweeping plains, and place-less urban backlots. The quintessential Western is spatially set in southeastern Arizona in the 1880s and is filmed in Monument Valley. Utilizing Meinig’s (1965) Core-Domain-Sphere concept, the genre’s place-image core resides in southeastern Arizona. The Western domain includes the Borderlands, High Plains, Sierra Nevada, Slickrock Country, and central New Mexico. The sphere of Western imagery extends outward to Los Angeles, Dodge City, Mexico, Canada, and Spain. Following Wright (2014), the Western’s typical boundaries are the Missouri Breaks (north), Indian Territory (east), the Borderlands (south) and gold mining in the Sierra Nevada (west).
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Hall, Kenneth E. "Commandos on the Frontier: The Professionals, Elite Squads, and the Western Film." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5446.
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Robinson, Scott E. (Scott Elmon) 1961. "Dichotomy in American Western Mythology." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.
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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature.
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Shier, Sara Ann. "The depiction of indigenous African cultures as other in contemporary, Western natural history film." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/shier/ShierS1206.pdf.
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Hall, Kenneth E. "Mountain Men on Film." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5447.
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Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.
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Timmons, Lena G. Boyd Jean Ann. "Functions of film music and sound within a genre : the revenge western /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4900.
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Brown, Keith Hennessey. "Deleuzean hybridity in the films of Leone and Argento." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7867.
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In this comparatively brief chapter I begin by introducing my central research proposition. I then introduce my corpus of films and establish their significance both in their own right and as somewhat representative examples of a broader area of cinema. Following this I introduce my corpus of theory. Throughout, I seek to position my research within its wider context, identifying precedents for the approach I will take, alongside the originality of the thesis as a whole. My central contention in this thesis is that the films made by the Italian directors Sergio Leone and Dario Argento between the mid-1960s and the early 1980s are distinctive instances of a Deleuzean hybrid cinema. Gilles Deleuze suggests that we can identify two main, contrasting forms of cinema. These are the cinema of the movement-image and the cinema of the timeimage. As a philosopher of difference, Deleuze tends to present the two cinemas as alternatives. This is enhanced by their most important respective manifestations. The movement-image is associated with classical Hollywood genre cinema, the time-image with modern European art cinema. Accordingly, a Deleuzean approach leads to two contradictory hypotheses on the nature of Leone and Argento’s films. On the one hand, that they are genre works (westerns, gangster, thrillers and horror films) suggests they are movement-image. On the other hand, that they are post-Second World War continental European films suggests they are time-image. My contention is that we can resolve this apparent contradiction by considering the films as including combinations of movement-images and time-images. This entails reading Deleuze’s theory somewhat against the grain, by suggesting the existence of a continuum between the two image regimes. Crucially, however, there are a number of precedents for using Deleuze’s ideas to investigate hybrid cinemas, with these also demonstrating the value of modifying or extending his theories. In addition, I would suggest that we can deploy notions of hybrid cinema as a means of exploring the career trajectories of certain directors, by considering the proportions and types of movement-image and time-image apparent over their filmographies. My main corpus of films comprises fourteen works by Italian directors Sergio Leone (1929-1989) and Dario Argento (1940-). The Leone films span the period 1964 to 1984 and are all westerns with the exception of his final film, which belongs to the gangster/crime genre. The Argento films span the period 1970 to 1982 and are all giallo thrillers or fantasy-horror films, with some overlap between these genres. The Leone films are A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in the West (1968), Duck You Sucker (1971), My Name is Nobody (1973) and Once Upon a Time in America (1984). The Argento films are The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Four Flies on Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980) and Tenebrae (1982). The exclusion of Argento’s later films allows for a clearer and closer comparison to be made with Leone’s films, my contention being that the two directors were doing similar things in their respective genres during this time period. Argento also broke into filmmaking through collaborating with Leone upon Once Upon a Time in the West.
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Fayoux, Stéphane C. "Interactions between plasticised PVC films and citrus juice components." View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/35863.
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Thesis (Ph.D.) -- University of Western Sydney, 2004.A thesis presented to the University of Western Sydney, Centre for Advanced Food Research, in fulfilment of the requirements for the degree of Doctor of Philosophy in Advanced Food Science (& Food Packaging Science). Includes bibliography.
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Li, Yang. "Les gestes du western de Sergio Leone : pour une introduction à l'analyse gestuelle des films." Lille 3, 2008. http://www.theses.fr/2008LIL30014.
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A partir d'une étude synthétique de la notion de geste dans des domaines différents (philosophie, anthropologie et esthétique), la thèse voudrait proposer, sous l'angle non-verbal, un modèle d'analyse gestuelle des films en l'appliquant à l'étude du western de Sergio Leone. La thèse offre une triple distinction du geste dans la pratique de l'analyse des films : le geste caractéristique (le geste appartenant au niveau diégétique), le geste cinématographique (le geste relevant du niveau extradiégétique) et le méta-geste (le geste à un niveau inter-filmique). La démarche vise à instaurer puis à décrire respectivement les gestes-clé de chaque niveau dans les films de Leone. En dehors de l'action et du dialogue, en dehors de l'énonciation et de la narration, la thèse cherche à mettre en valeur des éléments audio-visuels de l'esthétique figurative du cinéma. L'étude tente d'envisager le western de Leone comme "mineur" à partir de la théorie de Deleuze. En discutant certaines controverses historiques autour de Sergio Leone et du western italien, la thèse prend au sérieux la poétique des gestes du réalisateur et l'influence inter-culturelle de ce western mineurFrom a synthetic retrospective study of the concept of gesture in different fields (philosophy, anthropology and aesthetics), as an aesthetic term, this thesis is dedicated to propose, at the non-verbal angle, a model of gesture analysis of films as example in the analysis of Sergio Leone's westerns. This thesis offered a distinction of three levels of gesture in the practice of the analysis of films : the characteristic gesture (the diegetic level), the cinematographic gesture (the extradiegetic level) and the meta-gesture (the inter-filmic level), respectively described the key-gestures in each level of Leone's films, and tried to emphasize some audiovisual details of the figurative aesthetics of cinematic movement outside of the action/fialogue and enunciation/narration. The author tried to introduce the westerns of Leone as the "minor" from the theory of Deleuze. In answering some historical controversies around Sergio Leone and the Italian western, this thesis gave an insight into the gesture's politics of the director and the inter-cultural influences of this minor western
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Spicer, Jeffrey A. "The Changing Face of the Western: An Analysis of Hollywood Western Films from Director John Ford and Others During the Years 1939 to 1964." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1336436304.
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Pandelakis, Pia. "L'héroïsme contrarié : formes du corps héroïque masculin dans le cinéma américain 1978-2006." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030076/document.
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Cette recherche se propose d'examiner la figure du héros américain de cinéma, en tant que figure héroïque et pas seulement en tant que personnage principal. Refusant le motif d'un Âge d'or du héros (qui correspondrait au cinéma classique hollywoodien) suivi d'une décadence anti-héroïque (que serait le nouvel Hollywood des années 70), nous avons voulu traiter, au-delà des héros eux-mêmes, de l'héroïsme qui leur était associé, notamment dans un genre considéré comme le vivier par excellence des nouveaux Hercules : le film d'Action.Cet héroïsme nous est apparu comme critique, c'est-à-dire en crise - autrement dit, les héros vivent leur héroïsme sur un mode conflictuel, qui se traduit notamment dans la mise en image de corporéités impossibles, où le corps est poussé vers des états limites. Nous avons ainsi travaillé cette notion d'héroïsme en creux, en cherchant à définir son ailleurs ; à cet égard,c'est le nerd, figure stéréotypée prégnante dans la culture américaine, qui s'est imposée. Ce contre-héroïsme du nerd n'est pas seulement un contre-modèle, mais aussi un terme nécessaire dans l'équation héroïque. Les super-héros qui peuplent aujourd'hui les écrans de cinéma forment à priori une image sublimée de l'héroïsme au cinéma, mais réaffirment, par le jeu des identités doubles, l'intrinsèque fragilité d'un héroïsme qui ne peut émerger qu'à la condition d'intégrer son contraireThis research aims to examine the figure of the american hero in cinema, understood as aheroic figure and not just a main character. By waving aside the idea of a Golden Age for thehero (which could be embodied by classic Hollywood characters) followed by a decadent era(the new Hollywood), we wish to focus - beyond the heroes themselves - on their heroism,especially in a genre considered as the ideal context for harvesting new Herculeses: the actionfilm. Heroism is revealed as being critical, meaning in crisis - in other words, heroes live theirheroism on a conflictual mode, which results in images showing impossible corporeities,where the body is pushed to borderline states. We have thus treated this concept of heroismby searching for its opposites; in this framework, the stereotypical figure of the nerd,dominant in the American culture, imposed itself. The nerd presents a counter-heroism that isnot only a reversed model, but also a necessary term in the heroic equation. The super-heroesthat we see nowadays on movie screens seem to present a sublime image of heroism in thecinema, but thanks to the interplay of their dual identity, they also reaffirm the inner fragilityof heroism, which can only emerge when it accepts its contrary
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Momberg, Marthie. "Different ways of belonging to totality : traditional African and Western-Christian cosmologies in three films : an exploratory literature study." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5452.
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Thesis (MPhil (Religion and Culture) Practical Theology and Missiology))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This study distinguishes between religion as a sense of belonging to the ultimately-real and specific religious traditions. Religion, as used here, concerns a cosmological understanding of the universe and with that which is experienced as meaningful and real on an existential level. Although differences between religious traditions are generaly known, most people‟s emotional conceptual frameworks of the universe are so deep seated that they do not even realise that far-reaching differences between people on this level too are possible. It often happens, for example, that concepts such as transcendence and redemption are incorrectly accepted as universal to all of humanity. Yet in fact, cosmological concepts (the nature and experience of the immediate world out there, the conceptual understanding of time, the role of chance versus determinism, the source of religious knowledge and so forth) can be experienced differently on a symbolic level. In the context of Religion and Media which is the field of study relevant here, as well as in a number of other contexts, it is problematic when scholars project their own views of reality and meaning experiences onto those of others – especially when they expressly articulate their intention as the opposite. John Cumpsty (1991) distinguished three ways in which a person can derive meaning from the cosmic totality and I shall discuss two of these with reference to the Western-Christian and the traditional African reality views. From this, it becomes clear that radical different patterns of cosmological understanding are possible, each with its own systemically related set of symbols. Along with Cumpsty‟s theory, I also use the theory of Castells (2005) on the construction of social identities, as well as the theory of Sen (2006) on the use of cognitive versus affective dimensions in identity formation, to indicate how cosmological symbols can be positioned differently. With these three theories in mind, I subsequently interpret the identities of the main characters in three films hermeneutically. I specifically selected this medium as a segment of life to be studied because of the increasing popularity of the medium in reflection, construction and projection of existential meaning. Another reason for my choice is the many examples where interpretors of film project their own cosmological understanding onto those of others whilst they actually intend to be pluralistic. The findings of this study surprised me. Firstly and as expected, it clarifies the nature of differences between the Western-Christian and the traditional African cosmologies, as well as how these are implemented in praxis and by symbolic interpretations. However, the integration of the three theories also afforded me the opportunity to develop a method for a religious-cosmological analyses of identities. According to this method, an interpretor of films can distinguish between his or her own paradigm and a possible other paradigm. It allows the analyst to acknowledge the own paradigm and simultaneously respect another paradigm – without projecting the own onto the other. Therefore this method diminishes the chances of using dubble-text interpretation which maintains or promotes the exclusion of others. With this method, as well as the findings of this study, one can go much wider than the field of Religion and Media, as it involves the understanding of identity and different ways of belonging to the cosmic totality.
AFRIKAANSE OPSOMMING: Hierdie studie onderskei tussen religie as ’n manier van behoort aan die ultiem-werklike en spesifieke religieuse tradisies. Religie soos hier gebruik, het te make met ‟n kosmologiese verstaan van die heelal en met wat eksistensieel as werklik en sinvol ervaar word. Hoewel verskille tussen religieuse tradisies algemeen bekend is, is mense se emosionele verstaansraamwerke van die heelal so diep gesetel, dat die meeste nie eens besef dat daar ook op hierdie vlak ingrypende verskille is nie. So gebeur dit dikwels dat konsepte soos “transendensie” en “verlossing”verkeerdelik as universeel aan alle mense en religeuse tradisies beskou word. In der waarheid kan kosmologiese komponente (die aard en ervaring van die onmiddellike realiteit; tydsverstaan; die rol van kans teenoor determinisme; die bron van religieuse kennis; ensovoorts) egter op ’n simboliese vlak verskillend ervaar word. In die konteks van Religie en Media waarbinne hierdie studie val, asook binne vele ander kontekste, is dit problematies wanneer akademici hul eie realiteitsiening en sinservaring op dié van ander projekteer – veral wanneer hulle hulself uitdruklik voorgeneem het om die teendeel te doen. John Cumpsty (1991) het drie maniere waarop mense sin maak van die kosmiese totaliteit onderskei en ek bespreek twee daarvan met verwysing na die Westers-Christelike en die tradisionele Afrika realiteitsienings. Hieruit word dit dan duidelik dat algeheel verskillende patrone in ‟n kosmiese verstaan moontlik is, elk met ‟n eie stel simbole wat sistemies bymekaar aansluit. Saam met Cumpsty se teorie, gebruik ek ook dié van Castells (2005) oor sosiale identiteitsvorming, en dié van Sen (2006) oor die gebruik van die kognitiewe versus die affektiewe in identiteitsvorming om aan te toon hoe kosmologiese simbole verskillend geposisioneer kan word. Met hierdie drie teorieë in gedagte, ontsluit ek vervolgens die identiteite van die hoofkarakers in drie rolprente hermeneuties. Ek het spesifiek dié medium as ‟n bestudeerbare greep van die lewe gekies weens die toenemende gewildheid daarvan in die refleksie, konstruksie en projeksie van eksistensiële sin. Nog ‟n rede is die talle voorbeelde waarin interpreteerders van rolprente hul eie kosmiese verstaan op dié van andere projekteer terwyl hulle eintlik pluralisties wil wees. Die bevindinge van hierdie studie was vir my verrassend. Dit bring eerstens, soos verwag, wel helderheid oor die aard van verskille tussen die Westers-Christelike en die tradisionele Afrika kosmologieë, asook hoe dit in die praktyk kan uitspeel aan die hand van simboliese interpretasies. Die integrasie van die drie teorieë het my egter ook die kans gebied om ‟n metode vir ’n religieus-kosmologiese analise van identiteit te ontwikkel. Hiervolgens kan ‟n ontleder van rolprente op ‟n redelike, sistematiese en sistemiese manier tussen sy of haar eie, sowel as ‟n moontlike ander, paradigma onderskei. Dit laat die ontleder toe om die eie paradigma te erken, sowel as respek te betoon teenoor ’n ander paradigma – sonder om die eie op die ander te projekteer. Daarom verminder hierdie metode veral ook die kans op die gebruik van ‟n dubbele-teks interpretasie wat uitsluiting van die ander handhaaf of bevorder. Hierdie metode, sowel as die bevindinge van die studie, kan veel wyer as die veld van Religie en Media toegepas word, omdat dit te make het met die verstaan van identiteit en verskillende maniere van behoort aan die kosmiese totaliteit.
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Fayoux, Stéphane C. "Interactions between plasticised PVC films and citrus juice components." Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/35863.
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The study presented here consists in an original piece of work to better understand complex food packaging interactions. The majority of investigations on food polymer interactions related to orange juice and this provided a good base to our study (Literature reviews: cf. Chapters 1a and b). Additionally a rather remarkable finding in 1994 was that limonin, a trace bitter material found in some varieties of orange juice was rapidly absorbed by highly plasticised polyvinyl chloride (PVC plastisol) (Chapter 2). Several commercial absorbants are available for debittering, relying on limonin absorption on the large surface area of the highly porous absorbant pellets. However, the absorptive properties of the smooth plastisols apparently relied on a different mechanism. Limonin is a very large (470.5 g/mol) compound, but some preliminary experiments with another much smaller orange juice constituent d- of absorbates in plastisols, methods used earlier (Moisan 1980, Holland and Santangelo 1988) to measure solubilities and diffusion constants in packaging films could be advantageously used to survey these properties in a wide range of materials, including model compounds of various types, and a number of compounds which may be found in citrus juices (Chapters 3, 4 and 5). Experimentally, the method found most suitable was to use a ‘test film’ of pure
plastisol which was wrapped tightly on both sides by a similar ‘supply film’ blended with 1 Molar test material (also called ‘absorbate’), setting up a concentration gradient. The inner test film was removed at regular intervals (minutes to hours) to measure (mainly by weighing) the uptake of the test reagent with time. Rather unexpectedly, it was found in a number of cases that the test film lost weight, either from the beginning, or after a period of time. Three main types of behaviour were identified: Type A lost weight from the beginning and over a long period of time, Type B gained weight initially and then lost weight, and Type C gained weight until a steady state was reached. Often the maximum, or near maximum, mass increase occurred within around 100 minutes, indicating a very rapid, liquid-like diffusion mechanism, in harmony with the rapid uptake of d-limonene and limonin. The major parameters of interest with these compounds are their diffusion rates and their solubilities, and in the presence of aqueous media (orange juice and other foodstuffs) the partition coefficient between the plastisol and water, which is related to the hydrophobicity function LogP for the compound. The major complicating factor in these measurements is the observation that the plasticiser materials themselves also migrate, in the reverse direction, because of the lower effective concentration in the supply film. This effect tends to be small, but is one explanation for the mass loss observed above, and cannot be ignored over the long
term, nor in its practical applications to contamination in foods. There are many possible applications for the techniques described above. The removal or addition of compounds in food packaging itself is one. Upgrading foods, such as orange juice, commercially, is another. In many cases ‘scalping’ off-flavours or other minor components takes place exclusively through solid or liquid contact with the packaging. The removal from the headspace measured by the current gas permeation methods is irrelevant for the vast numbers of involatile, but easily diffusable compounds. For such compounds these novel applications are simple and rapid, require little specialised equipment, and fill a niche in the armoury of food and packaging chemists.
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Walker, Tanya L. M. "Symmetry-enhancing for a thin film equation." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43978.
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Thesis (Ph.D.)--University of Western Sydney, 2008.A thesis presented to the University of Western Sydney, College of Health and Science, School of Computing and Mathematics, in fulfilment of the requirements for the degree of Doctor of Philosophy - Science. Includes bibliographies.
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Finnane, Gabrielle. "Second nature : artifice and history in film /." View thesis View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.115616/index.html.
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Finnane, Gabrielle. "Second nature : artifice and history in film." Thesis, View thesis View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/28326.
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The thesis comprises a screen play for a one hour film and dissertation examining artistic issues in the intersection of biography and history in fictional films. The aim was firstly to broaden the definition of what is involved in filming historical fictions, in terms of how both characters and historical settings are conceived. Secondly the work explores the artifice of historical representation on the screen through case studies of films which are experiments in filming history and biography. Thirdly both the screenplay and the dissertation consider the implication of fictions which deal with minor historical figures. Primarily the thesis elucidates conceptions of historical artiface in the cinema advanced by films themselves, films which had either a paradigmatic or an idiosyncratic role in the development of certain artistic practices. Films, like works of written fiction, have in many respects invented new meanings for, and associations with, the past. The thesis concludes that the different conceptions of historical artiface embodied in fictional films have implications for our sense of the past.
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Funk, Sophia G. I. "Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1632.
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The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.
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Walker, Tanya L. M. "Symmetry-enhancing for a thin film equation." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43978.
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This thesis is concerned with the construction of new one-parameter symmetry groups and similarity solutions for a generalisation of the one-dimensional thin film equation by the method of symmetry-enhancing constraints involving judicious equation-splitting. Firstly by Lie classical analysis we obtain symmetry groups and similarity solutions of this thin film equation. Via the Bluman-Cole non-classical procedure, we then construct non-classical symmetry groups of this thin film equation and compare them to the classical symmetry groups we derive for this equation. Next we apply the method of symmetry-enhancing constraints to this thin film equation, obtaining new Lie symmetry groups for this equation. We construct similarity solutions for this thin film equation in association with these new groups. Subsequently we retrieve further new symmetry groups for this thin film equation by an approach combining the method of symmetry-enhancing constraints and the Bluman-Cole non-classical procedure. We derive similarity solutions for this thin film equation in connection with these new groups. Then we incorporate nontrivial functions into a partition (of this thin film equation) which has previously led to new Lie symmetry groups. The resulting system admits new Lie symmetry groups. We recover similarity solutions for this system and hence for the thin film equation in question. Finally we attempt to derive potential symmetries for this thin film equation but our investigations reveal that none occur for this equation.
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Borroni, Chiara. "Le héros dans le cinéma populaire italien des années cinquante aux années soixante-dix : péplum, western, film policier." Paris 1, 2007. http://www.theses.fr/2007PA010612.
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La perspective narratologique et celle socio-anthropologique vont se compénétrer dans la recherche d'un chemin « mythanalytique» qui fouille les archétypes (valeurs intemporelles dépositaires des instances mythiques) et les stéréotypes (codification de ces instances dans une période spécifique) qui définissent le héros dans les genres du cinéma populaire italien péplum, western, film policier - au cours de la période comprise entre les années du boom économique (fin des années cinquante) et la crise du système industriel (fin des années soixante-dix). En considérant ces éléments sur le plan de leur modification, le but de la recherche est donc de comprendre comment, dans leur adaptation aux changements, ces facteurs peuvent devenir métaphores (valeurs temporelles et historiques, expression des instances socio-culturelles) de l'évolution du profil du spectateur qui projette sur l'identité fictionnelle (le héros) les dynamiques de transformation de son imaginaire de référence.
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Pettersson, Emil. "Native Americans on Screen in 1939 and 2015 : A Postcolonial Study on the Portrayal of the Indigenous People of America in Films and How to Adapt it into the EFL Classroom." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65916.
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The essay originates from the idea that the United States has a history of racism evidenced in the displacement and discrimination of Native Americans and that the representation of Native Americans in films reflects the changing views of the indigenous population in the surrounding society. The purpose of this essay is to investigate how the Native American characters are portrayed in western films. Two films are going to be analysed; Stagecoach from 1939 and The Revenant from 2015. The theoretical framework that is used for the analysis is Postcolonialism. The findings reveals that Native American characters are portrayed more humanely in The Revenant than in Stagecoach. By applying the findings into the classroom the students can be given the opportunity to discuss human rights, equal value and solidarity between people, which can lead to reflections about the fundamental values of the curriculum.
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Slagle, Jefferson D. "In the flesh authenticity, nationalism, and performance on the American frontier, 1860-1925 /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150295077.
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Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.
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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.
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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
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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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Shi, Wei. "HR practices and challenges in Chinese firms : comparison with Western firms." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/46238/1/Wei_Shi_Thesis.pdf.
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This research compares Chinese HRM with Western HRM, particularly in the areas of development of HR information systems (HRIS) and HR measurement systems and their relation to HR’s involvement as a strategic partner in firms. The research uses a 3-stage model of HRIS (workforce profiling, business insight, and strategic driver) based on studies of Irmer and Ellerby (2005) and Boudreau and Ramstad (2003) to compare the relative stages of development of Chinese and Western HRM. The quantitative aspect of the study comprises a survey of senior HR practitioners from 171 Chinese firms whose data is compared with data from Irmer and Ellerby’s study of Australian and U.S. HRM (2005) and Lawler et al’s series of studies of U.S firms (1995, 1998, 2001, 2004). The main results of the comparison are that Chinese HRM generally lags behind Western HRM. In particular, Chinese HR professionals allocate less time to strategic activities and their roles are less strategic than those of Western HR professionals. The HR measurement systems of Chinese firms are more limited in function, and the HR information systems of Chinese companies are less automated and integrated. However there is also evidence of a “two speed” HR system in China with a small proportion of firms having highly sophisticated HR systems but with a much larger proportion of Chinese firms than in the West having only the most basic HR information systems. This ‘two speed” system is in part attributable to a split between the relatively advanced HR systems of large State Owned Enterprises and the basic systems that predominate in smaller, growing Local Private firms. The survey study is complemented by a series of interviews with a number of senior Chinese HR practitioners who provide richer insights into their experiences and the challenges they face in contemporary Chinese firms.
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Robards, Andrew. "Repetition, revision, appropriation and the Western." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12843.
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The aim of this research paper is to demonstrate the innate dialogue that exists between the Western genre and Contemporary Art practice. Initially, the fundamental qualities of a ‘Classic’ Western are defined, before moving on to a broader examination of the genre’s key developments and evolutions post World War II. Using George Steven’s Shane as a case study, the paper traces the prominent position of appropriation inside the meta-cinematic form, whilst also tying various filmic examples to the practice’s of visual artists who employ congruous strategies when developing their own work. The paper concludes with a detailed exploration of my own creative practice, highlighting how my theoretical research has informed a body of work that employs prominent connections and appropriations from both cinematic and artistic forms of expression. The exhibited component of my studio research is a three part installation and accompanying online database of film stills. Each piece in the body of work explores the position of the Western genre in the cinematic and contemporary art contexts, representing a refined culmination of my various work and its development through a sustained process of visual and theoretical investigation. All four parts of the project employ the well established revisionist imperatives that characterise the Western and Contemporary Art spheres. Through the combination of these shared practices my work seeks to hybridise the two traditionally separate, but increasingly homogeneous creative mediums.
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Pinar, Garcia Alex. "Western Literature in Japanese Film (1910-1938)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667250.
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Des del inicis del cinema s’han realitzat un innumerable nombre de pel·lícules basades en obres literàries. L'adaptació cinematogràfica es pot considerar un procés interpretatiu en què el cineasta crea un nou treball artístic mitjançant la transformació de l'estructura, el contingut, l'estètica i el discurs narratiu de l’obra literària. És freqüent veure pel·lícules en les que els directors han adaptat obres literàries del seu propi àmbit cultural, però és menys comú trobar exemples de directors que han creat pel·lícules basades en obres d'una esfera cultural i tradició literària diferent.
Aquest és el cas d'alguns cineastes japonesos, com Kurosawa Akira, que va adaptar amb èxit obres destacades de la literatura universal. Moltes investigacions han centrat la seva atenció en les adaptacions realitzades per Kurosawa i altres directors japonesos en la dècada de 1950 i posteriors, un període en el qual el cinema japonès va rebre reconeixement a tot el món i va aconseguir presència internacional en prestigiosos festivals de cinema. No obstant això, hi ha hagut poca o gairebé cap atenció a la les adaptacions de literatura occidental produïdes al Japó durant els anys 1910, 1920 i 1930, al llarg de les anomenades èpoques Meiji, Taishō i Shōwa- preguerra.
L'objectiu d'aquesta investigació és, per tant, explorar les relacions intertextuals entre aquestes pel·lícules i les obre literàries en la qual es van basar, i descriure les transformacions culturals en l'estructura, el contingut, l'estètica i el discurs narratiu realitzats en el procés d'adaptació. Així, la metodologia emprada segueix l'enfocament dialògic de Stam, tenint en compte altres propostes metodològiques recents, les quals suggereixen afegir aspectes històrics, culturals i contextuals a l'anàlisi de les adaptacions cinematogràfiques. Aquesta tesi té la intenció d’aportar una nova perspectiva als estudis de les relacions intertextuals entre cinema Japonès i la literatura universal mitjançant l’anàlisi de pel·lícules produïdes durant la primera meitat del segle XX que no han estat mai o han estat molt poc estudiades.Since the beginning of cinema, innumerable films have been derived from classic or popular literature. Film adaptation of a literary work can be considered as an interpretative process in which the film director creates a new artistic work through several transformations in the structure, content, aesthetics, and narrative discourse. There are hundreds of films in which the directors have adapted literary works from their own cultural sphere, but there are fewer examples of directors who have made movies based on literary works from a different culture and literary tradition. That is the case for some Japanese film directors, such as Kurosawa Akira, who adapted foreign literature for the screen. Many scholars in the field of Film Studies have focused their attention on the adaptations made by Kurosawa and other Japanese directors in the 1950s and subsequent decades: a period during which Japanese cinema received acknowledgment worldwide and achieved an international presence in prestigious film festivals. However, there has been little or no attention to the adaptations of Western literature produced in Japan during the 1910s, 1920s, and 1930s, throughout the so-called Meiji, Taishō, and Shōwa pre-war eras. The objective of this research is therefore to explore the intertextual relations between those films and the Western works on which they were based, and to describe the cultural transformations in the structure, content, aesthetics, and narrative discourse carried out in the process of adaptation. The methodology employed follows Stam’s intertextual dialogic approach, and takes into account the most recent theoretical frameworks, which suggest adding historical, cultural, and contextual aspects into the analysis of film adaptations. This dissertation goes far beyond the scope of the previous investigations, as it examines Japanese movies based on Western literature produced during the first half of the twentieth century that have never or barely been studied.
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Hedberg, Joakim. "Western på ett nytt sätt : NO COUNTRY FOR OLD MEN som western?" Thesis, Karlstad University, Faculty of Arts and Education, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5455.
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This addresses the problems when a film doesn’t easily fit in to one specific genre. Using No Country for Old Men as an example the study analyses the film from a Western perspective. Is it possible to say that it is a western? To determine that, I compare a number of acknowledged westerns, on the basis to list a number of generic conventions. I then use these conventions in my analysis of the main film. I there discover that the film despite its apparent likeness to the western genre fail to meet one of the fundamental conventions, namely the time aspect. The film doesn’t take place in the 19th century and can therefore be very hard to put under the western category. I however manage to make it so anyway. I expand the genre with a sub genre label. The Contemporary Western is born. The Contemporary Western is a film that meets all the typical conventions of the western except the time setting. This is a film that is a western sett in a modern time.
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Tei, Chiew Siah. "Chinese texts, Western analysis : from film to novel." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/3992/.
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This study explores perceptions of Chinese texts by Western audiences while looking into the interrelation between film and literature. This is done by two means: firstly, through a detailed discussion of film adaptations with the focus on Chinese cinema, and secondly, through a practical demonstration of a filmic style in prose fiction in the form of an original book-length piece of fiction. Using Bakhtin’s ‘dialogism’ as the point of departure, the research on adaptations adopts an intertextual approach of adaptation theory as developed by Robert Stam, looking into the intertextual relationship between a hypotext (a source text) and a hypertext (film adaptation). The analysis of Raise the Red Lantern by Zhang Yimou (1991) and Crouching Tiger, Hidden Dragon by Ang Lee (2001) concludes that both films contain elements of familiarity and strangeness for Western audiences, an uneasy mix of intimacy and exoticism which underpins their appeal. However, this phenomenon is unintended by the filmmakers themselves, chiefly because, firstly, the directors’ exposure to Western film art has contributed to the use of techniques that are familiar to Western audiences in the making of their films, and, secondly, the elements of strangeness are related to the natures of the films, the cultural elements involved and the locations in which the films are made, which are unfamiliar to a Western audience. The writing of the novel, Little Hut of Leaping Fishes, reveals the necessity of incorporating cultural elements into a narrative that is set in a time and place where the culture is deeply rooted. My background as a fourth-generation Chinese in Malaysia informs my urge as an artist and critic to explore aspects of my own cultural identity. The main concern, which is the key discovery of this experiment, is that once a writer understands the shared creative mechanism between film and literature, he can place a camera before his pages to capture the scenes he carefully arranged, making the page a screen onto which images as well as words can be projected.
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Kohler, Julie Anne. ""No Goin' Back": Modernity and the Film Western." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4152.
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This thesis is inspired by an ending—that of a cowboy hero riding away, back turned, into the setting sun. That image, possibly the most evocative and most repeated in the Western, signifies both continuing adventure and ever westward motion as well as a restless lack of final resolution. This thesis examines the ambiguous endings and the conditions leading up to them in two film Westerns of the 1950s, George Steven's Shane (1953) and John Ford's The Searchers (1956). Fascinatingly, the tension and uncertainty conveyed throughout these films is also characteristic of life in modernity, a connection which has previously gone overlooked. In my analysis, I study the ties between the postwar film Western and the philosophy of modernity to interpret these works in a new light, illuminating their generic context and their understudied philosophic dimensions. This reading highlights these films' continued relevance, showing how they have enabled creators and audiences to reflect on experiences of modernity in the idiom of the celluloid century.
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Hall, Kenneth Estes, and Chritian Krug. "Noir Westerns after World War II." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/590.
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Excerpt: Towards the end of Ethan and Joel Coen's Academy-Award winning No Country for Old Men (2007), Carla Jean Moss's life depends on the toss of a coin. Heads or tails will decide whether she lives or dies.
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McKenna, Kevin Thomas. "The Revival Western and." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7195.
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I create a dialogue between films credited with reviving the Western film genre in the early 1990’s. I examine spatial representations in a group of films I label “the revival westerns”: Kevin Costner’s Dances with Wolves (1990), Clint Eastwood’s Unforgiven (1992), and George P. Cosmatos’ Tombstone (1993). Through the use of extreme long shots, characters demonstrating a confined sense of place, and continuity editing, the revival westerns erect a concentrically scaled conception of space and place and maintain a linear temporality. However, I offer Jim Jarmusch’s Dead Man (1995) as an intervention that reassembles these spatial and temporal notions. Dead Man’s abstinence from the extreme long shot, elliptical editing, and multiple, simultaneous, and rearrangeable narratives, envisions space as a uniting presence that precedes and always exists in place, as well as beyond it, realizing place as part of a trans-scalar assemblage and time as non-linear. These spatiotemporal alternatives unmoor the stasis and fixity associated with the revival westerns’ notion of space, place, and time. This spatial and temporal dialogue is then contextualized within the social anxieties and economic violences employed during the neoliberal boom of the 1980’s and early 1990’s. I analyze Dead Man’s trans-scalar assemblage and non-linearity through the ecocritical lenses of Jane Bennett’s “thing power” and Rob Nixon’s “slow violence” to comprehend how Dead Man promotes a structure to enable greater social and ecological care.
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Balso, André. "Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC008/document.
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Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiquesRobert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema
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Kirk, Eloise. "Continuing west: in search of the heroic landscape." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10505.
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‘Continuing West’ is the umbrella title that I have given to my research and body of work throughout 2011-2013. It is a part of my on-going practice that explores the surrounding landscape as fictional manifestation, as possibility, as a chimerical combination of the ‘everything’. My practice has evolved out of an interest in the way in which we depict and relate to the natural world and its various landscapes. I am interested in how we perceive the notion of Utopia and idealise or fictionalise place. I aim to develop a visual discussion into developing and understanding of nature, art and contemporary landscape. In particular, I will discuss the fictionalised spaces derived from Western Film and our relationship with natural spaces across America and Australia. This notion will initiate a point for exploration and discussion of landscape, imagination and utopic visions associated with natural spaces. My research explores the depiction of landscape as an enabler, a protagonist for multiplicities of fable, myth and legend. I aim to incorporate notions within my practice that are sensitive to the idea that thought will embrace a geographical space in such a way that, regardless if it is real or fictional, this space becomes an artefact of the imagination, a product of human thought.
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Hall, Kenneth Estes. "Apaches and Comanches on Screen." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/591.
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Excerpt: A generally accurate appraisal of Western films might claim that Indians as hostiles are grouped into one undifferentiated mass. Popular hostile groups include the Sioux (without much differentiation between tribes or bands, the Apaches, and the Comanches).
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Gray, John T. "Organising modes of law firms /." Campbelltown, N.S.W. : University of Western Sydney, Macarthur, Faculty of Business, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030523.113551/index.html.
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Hall, Kenneth Estes. "From the Iron Horse to Hell on Wheels: The Transcontinental Railroad in the Western." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/587.
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Kronenberg, Juerg. "The emergence of the hidden dragons Do Chinese firms pose a serious threat to Western firms? /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01651819002/$FILE/01651819002.pdf.
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Welch, Mark, University of Western Sydney, and Faculty of Nursing and Health Studies. "Reel madness : the representation of madness in popular western film." THESIS_FNHS_XXX_Welch_M.xml, 1997. http://handle.uws.edu.au:8081/1959.7/705.
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This thesis considers the representation of madness in popular film, in the main from the Western canon and English speaking, and argues that madness is seen and represented as an extreme of human experience, a form of Otherness, which throws into relief notions of ontology, sanity and personal and cultural identity. It progresses from a consideration of the historical representations of madness and sanity in art and literature to a review of the pertinent literature on cinema and representation, and uses seminal examples from throughout cinematic history mostly from English language films, from 1906-1996, to illustrate the argument. Alternative methodological approaches are considered for the insights they may provide, and also for the contribution they make to the development of the thesis, in particular the influence of semiotics. A number of stereotypical portrayals of madness, such as the 'mad scientist', the 'crazed murderer', and the 'doomed heroic outsider' are examined in detail. Finally, the thesis proposes the way madness, and mad people, are represented in popular film is reflective and indicative of social and cultural concerns over what can be known, how identity can be established and what it means to live in the contemporary world fraught with uncertainty, anxiety and changeDoctor of Philosophy (Hons)
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Stott, Rosemary. "The Western feature film import in the GDR 1971-1989 :." Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435708.
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Welch, Mark. "Reel madness : the representation of madness in popular western film." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/705.
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This thesis considers the representation of madness in popular film, in the main from the Western canon and English speaking, and argues that madness is seen and represented as an extreme of human experience, a form of Otherness, which throws into relief notions of ontology, sanity and personal and cultural identity. It progresses from a consideration of the historical representations of madness and sanity in art and literature to a review of the pertinent literature on cinema and representation, and uses seminal examples from throughout cinematic history mostly from English language films, from 1906-1996, to illustrate the argument. Alternative methodological approaches are considered for the insights they may provide, and also for the contribution they make to the development of the thesis, in particular the influence of semiotics. A number of stereotypical portrayals of madness, such as the 'mad scientist', the 'crazed murderer', and the 'doomed heroic outsider' are examined in detail. Finally, the thesis proposes the way madness, and mad people, are represented in popular film is reflective and indicative of social and cultural concerns over what can be known, how identity can be established and what it means to live in the contemporary world fraught with uncertainty, anxiety and change