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Tesis sobre el tema "Cinema"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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1

Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.

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En un món social cada cop més nodrit per les interconnexions culturals, el cinema - expressió artística que és filla inequívoca del seu temps- es conforma des dels seus inicis a través de la integració i la interacció de formes expressives diverses i allunyades. Els darrers tres lustres han vist un impuls en la referida tendència, promoguda per la globalització de la indústria fílmica i, en bona mesura també, pel creixement (i/o la voluntat exportadora) dels cinemes asiàtics. La influencia d'aquests cines en el mainstream internacional (ja sigui el de l'entreteniment o el d'
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2

Manzo, Liliana <1988&gt. "Il cinema indipendente in Cina." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3540.

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Questa tesi propone un’analisi dettagliata del rapporto tra i registi Zhang Yuan, Wang Xiaoshuai e Jia Zhangke, tre dei maggiori esponenti della generazione underground/indipendente della Cina moderna, con la censura cinese e i festival cinematografici internazionali. Prendendo in esame ogni singolo regista ho indagato il quadro generale della situazione che vede i registi indipendenti cinesi a cavallo tra il cinema mainstream e quello underground.
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3

Carter, Sandra Gayle. "Moroccan cinema : what Moroccan cinema? /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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4

Turajlic, M. "Cinema Komunisto : cinema as a memory site." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9qx73/cinema-komunisto-cinema-as-a-memory-site.

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Cinema Komunisto is a documentary film about the use of the cinematic image in the creation of the political narrative of socialist Yugoslavia, taking as its starting point an abandoned film studio that had once been the crown-jewel of the Yugoslav film industry. An intensive five-year research process resulted in a story told through a montage of clips from fiction films and exclusive documentary archive, interspersed with interviews with key filmmakers, actors and studio bosses, as well as President Tito’s personal projectionist. In the introduction, a brief historical overview establishes t
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5

Silva, Iomana Rocha de Araújo. "Cinemas fluidos: análise das interrelações entre cinema independente experimental brasileiro e arte contemporânea no contexto pós-cinema." Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/13154.

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Submitted by Amanda Silva (amanda.osilva2@ufpe.br) on 2015-04-14T15:43:38Z No. of bitstreams: 2 TESE Iomana Rocha Silva.pdf: 4759189 bytes, checksum: ffcc86f029c864933a471f33fef6f33a (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5)<br>Made available in DSpace on 2015-04-14T15:43:38Z (GMT). No. of bitstreams: 2 TESE Iomana Rocha Silva.pdf: 4759189 bytes, checksum: ffcc86f029c864933a471f33fef6f33a (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2014<br>A partir da observação do contexto atual da produção do cin
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6

Xue, Fei <1993&gt. "Cinema cinese e società ——Traduzione e commento traduttologico di tre capitoli del libro Il cinema asiatico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15385.

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Abstract Chinese film has a history for more than a century. The Chinese film records the great changes in politics, economy, and culture within the hundreds of years of history. Chinese filmmakers, have spread the Chinese culture to all parts of the world. Nowadays Chinese movies have gradually become an indispensable part on the important international film festival, they are constantly updating people’s understanding of China all over the world. The first chapter of the thesis focuses on the social changes in China and its impact on the development of Chinese film, the role o
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7

Benoski, Diogo Albino. "Cinema." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102239.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Gradução em História.<br>Made available in DSpace on 2013-07-16T00:24:47Z (GMT). No. of bitstreams: 1 212596.pdf: 2022407 bytes, checksum: 64fed3ba42724bd32159aa5d7f07ad27 (MD5)<br>O objetivo deste trabalho é analisar a figura do doente mental construída pelo cinema. Nesta perspectiva, o estudo responde a uma série de indagações: o que é loucura, o que é cinema, e como se estabelecem as relações entre história e cinema. Pelo lado da loucura, podemos dizer que ela é definida
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8

Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030165.

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Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et l
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9

Gontijo, Rodrigo Corrêa 1974. "Live Cinema : práticas expandidas do cinema experimental." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284494.

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Orientador: Francisco Elinaldo Teixeira<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T16:52:45Z (GMT). No. of bitstreams: 1 Gontijo_RodrigoCorrea_M.pdf: 5812359 bytes, checksum: cd7a7f5f45e32b02c16bbe3c8ff67565 (MD5) Previous issue date: 2013<br>Resumo: Com mais de dez anos de existência, as performances de Live Cinema apontam para diversos caminhos com o surgimento de novas ideias e experimentações que foram impulsionadas pelo resgate de propostas desenvolvidas ao longo da história do audiovisual. A primeira parte
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10

Francisco, Maria Patrícia. "Um outro cinema - cinema documentário e memória." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29052009-152808/.

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A dissertação tem como proposta uma reflexão sobre o processo de realização de um documentário, a partir de minhas reflexões como realizadora. O trabalho tem como marco teórico e prático a memória na proposição de uma forma documental. Parto de conceitos literários sobre a memória subsidiada com referências fotográficas na invenção do conteúdo do documentário. Assim, entre filme e texto, tenho como propósito a apresentação de um pequeno panorama da história do cinema, focando alguns pontos referenciais que resultaram em mudanças para a linguagem do documentário contemporâneo. Na finalização do
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11

Stutz, Fernando Henrique Lacerda. "Cinema estrutura: estudo genealógico do cinema estrutural." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4727.

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Made available in DSpace on 2016-04-26T18:15:18Z (GMT). No. of bitstreams: 1 Fernando Henrique Lacerda Stutz.pdf: 1850440 bytes, checksum: 6bf9163a71562438af833a79cb8fc8c4 (MD5) Previous issue date: 2015-07-21<br>In 1969 the film critic P.A.Sitney said that, suddenly, a cinema structure "had emerged." Although imprecise, his observations were responsible for triggering a long process of discussions about a kind of cinema that, in general, was characterized by self-reflectiveness and antiillusionist processes. The exploration of the filmstrip's materiality, of the alternative projection and c
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12

Delgado, Benjamin Fernando. "The Cinema is Dead. Long Live the Cinema: A Multiple Case Study of the Connection Between Community and Transitional Cinemas." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372777410.

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13

com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O’Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed—economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film
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14

Nazareth, Adriano Joaquim Carvalho Barbosa. "O cinema está morto. Que viva o Cinema!" Doctoral thesis, Faculdade de Belas Artes da Universidade do Porto, 2006. http://hdl.handle.net/10216/10922.

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Doutoramento<br>Parte I A primeira parte deste trabalho consubstancia-se em três verbos : apresentar, reflectir, interrogar. Fiel ao objectivo implícito no subtítulo - Subsídios para o ensino da cinematografia numa escola de arte elaborou-se uma relação largada e abrangente das varias técnicas de registo de imagem em movimento acompanhada de notas históricas sobre a cinematografia guardando um especial enfoque sobre cinema e televisão. Em um segundo momento reflecte-se sobre a evolução técnica e estética da dita cinematografia com a consequentes interrogações sobre o futuro da mesma. A segu
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15

Sungsri, Patsorn. "Thai cinema as national cinema: an evaluative history." Thesis, Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local fil
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16

Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /." Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local fil
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17

Nazareth, Adriano Joaquim Carvalho Barbosa. "O cinema está morto. Que viva o Cinema!" Tese, Faculdade de Belas Artes da Universidade do Porto, 2006. http://hdl.handle.net/10216/10922.

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Doutoramento<br>Parte I A primeira parte deste trabalho consubstancia-se em três verbos : apresentar, reflectir, interrogar. Fiel ao objectivo implícito no subtítulo - Subsídios para o ensino da cinematografia numa escola de arte elaborou-se uma relação largada e abrangente das varias técnicas de registo de imagem em movimento acompanhada de notas históricas sobre a cinematografia guardando um especial enfoque sobre cinema e televisão. Em um segundo momento reflecte-se sobre a evolução técnica e estética da dita cinematografia com a consequentes interrogações sobre o futuro da mesma. A segu
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18

Kung, Sze-chung Charles, and 龔詩宗. "Cinema park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983388.

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19

Pan, Pengkai 1972. "Mobile cinema." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28777.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.<br>Includes bibliographical references (p. [157]-161).<br>This thesis develops techniques and methods that extend the art and craft of storytelling, and in particular enable the creation of mobile cinema. Stories are always constrained by the medium in which they are told and the mode by which they are delivered to an audience. This dissertation addresses the design of content, systems, and tools that facilitate the emerging type of computational audio-visual n
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20

Arteaga, Esenarro Jennifer Tracy, Pita Maria José Barba, Arellano Beatriz Georgina Coral, Gallo Jazmin Jocelin Oyanguren, and Asencios Diana Carolina Zapata. "Cinema Home." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/656875.

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Dada la coyuntura actual, es decir, la crisis por la pandemia por covid - 19, y a consecuencia de ello, el aislamiento social. Muchos de los negocios se han visto afectados, siendo uno de ellos, el sector de entretenimiento, específicamente el que involucra la proyección de contenido audiovisual. Muchas de las películas, eventos, obras, conciertos, entre otros a suscitar entre los años 2020 y 2021 se han visto afectadas y por lo tanto, postergadas. Por esta razón, nace el proyecto “Cinema Home”, esta idea de negocio se basa en implementar un servicio de alquiler de equipos de proyección y acce
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21

Kung, Sze-chung Charles. "Cinema park." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956206.

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22

Trainer, Adam. "Rock'n'roll cinema." Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts bel
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23

Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.

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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts bel
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24

Blažíček, Martin. "Live Cinema." Doctoral thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-252308.

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This work provides contextual analysis of contemporary live cinema practise.Based on reflection of selected works by czech artists it points to various aspects of contemporary live cinema practice in context of media and fine arts.
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25

Abes, Christian. "Cinema-literatura." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92413.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2009<br>Made available in DSpace on 2012-10-24T08:39:17Z (GMT). No. of bitstreams: 1 266553.pdf: 477684 bytes, checksum: 4d58b6537080c310384088bb78de1ebf (MD5)<br>O processo de adaptação cinematográfica permanece um grande tema de discussão entre os meios do cinema e da literatura. Palavras tais como "fidelidade" e "respeito" ainda parecem ser medidas para avaliar um filme adaptado de uma obra literária. No entanto, é preciso enxergar estas
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26

Hrůza, Jiří. "Cinema point." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2017. http://www.nusl.cz/ntk/nusl-265503.

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The diploma thesis solves a theater with a cafe in the town of Humpolec in the Vysočina Region. It contains complete documentation for execution, assessment in terms of fire safety and in terms of building physics. Furthermore, the proposal ventilation for cinema, foyer and cafe. There is a cinema and a cafe, which is located on the second floor. Cinema is designed with a capacity of 196 seats, of which 5 seats are reserved for people with limited mobility. Screening is provided as 2D mode and 3D projection. The café is designed for moviegoers and the general public. The café seats 36 seats. T
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27

Kahtalian, Marcos. "Cinema fundamentalista : o cinema iraniano apos a Revolução Islamica." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284116.

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Orientador: Marcius Cesar Soares Freire<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-31T14:51:11Z (GMT). No. of bitstreams: 1 Kahtalian_Marcos_M.pdf: 6574380 bytes, checksum: d2ef9799700b5067869d87cf5885d98b (MD5) Previous issue date: 2001<br>Resumo: Esta dissertação procura elaborar um breve panorama do cinema iraniano após a Revolução Islâmica, ocorrida em 1979. O texto analisa os fatores socioculturais e históricos da Revolução que condicionaram o nascimento de um novo modo de fazer cinema no Irã, bem como detalha
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28

Fall, Bilal. "L'action dans le cinéma africain : le Sénégal." Paris 4, 1987. http://www.theses.fr/1987PA040076.

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Nous avons privilégié une approche esthétique. L’étude de la narration filmique permet, au-delà des sujets traités dans les films, de dégager le style particulier de l'art cinématographique africain. Notre thèse se limite au cinéma sénégalais et s'articule sur trois points : 1) la spécificité de l'action s'appuie : a) sur les fonctions dramatiques utilisant des procédés antithétiques, du symbolisme tragique, des emprunts à la tradition et un traitement particulier du temps et de l'espace. B) sur un univers cinématographique domine par des mutations, ressenties comme autant de mutilations et n'
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29

Campillo, Jean-Paul. "Les représentations des problématiques sociales dans le cinéma espagnol contemporain (1997-2011)." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2002/document.

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Cette thèse porte sur les documentaires qui, en Espagne, se situent à mi-chemin entre l’engagement militant et le désengagement politique. Notre recherche s’est orientée vers des films minoritaires susceptibles de prendre le contrepied des représentations timides des problématiques sociales, autrement dit d’en proposer une lecture politique. Ces productions, en s’approchant au plus près du militantisme, interrogent le discours et l’action des pouvoirs en place (politiques et économiques) et en même temps donnent à voir des alternatives, qu’elles appartiennent à un passé lointain ou très récent
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30

Lucia, La Placa Simona <1987&gt. "Al di là dell'amore. Breve viaggio sentimentale nel cinema cinese." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1634.

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Il cinema cinese vanta di una lunga e vasta produzione a partire dal 1896, data della prima proiezione cinematografica, fino ai giorni nostri. Analizzando la maggior parte dei capolavori del cinema cinese si notano contaminazioni occidentali che hanno inciso ma allo stesso tempo caratterizzato il linguaggio di molti registi. Questo percorso vuole essere un’analisi che, partendo da questo assunto, ha come filo conduttore il rapporto tra uomo e donna all’interno del cinema cinese a partire dagli anni ’30 della Shanghai d’oro fino ai giorni nostri. Matrimoni, gelosie e tradimenti raccontati dai p
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31

Épinoux, Estelle. "Le cinema en irlande, la genese difficile d'un cinema national." Caen, 1999. http://www.theses.fr/1999CAEN1272.

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Le cinema irlandais est un sujet controverse ; il est au centre de vifs et longs debats, avant et apres 1921 qui impliquent differents acteurs : l'etat britannique, l'eglise catholique et les nationalistes avant 1921 ; l'etat libre irlandais, l'eglise, les nationalistes, les cinephiles et les realisateurs apres cette date. Les debats portent sur la reconnaissance du statut artistique et culturel du cinema. Jusque dans les annees 1960, le cinema reste l'objet d'une forte censure ; il n'est pas considere comme un art "national". Les debats concernent egalement les modalites de construction d'un
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32

Chu, Yingchi. "Hong Kong cinema and national cinema: Coloniser, motherland and self." Thesis, Chu, Yingchi (2000) Hong Kong cinema and national cinema: Coloniser, motherland and self. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/42167/.

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Defining the 'national' status of a country's cinema has been central to historical film texts and debates since the 1980s. This dissertation contemplates the 'national' features of Hong Kong cinema under the British colonial government using Andrew Higson's four approaches to national cinema: the production-centred industry, the exhibition-led market, the creation of film texts and the emergence of critical traditions. This study has drawn materials from a variety of sources, including historical data on Hong Kong, interviews, newspapers and magazines as well as the films themselves. Using
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33

Çeliktemel-Thomen, Özde. "Cinema contested : regulation of cinema in the late Ottoman Empire." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10051014/.

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Cinema Contested explores cinema regulations of the late Ottoman Empire (1890s- 1920s). The dissertation uses Ottoman Turkish, French, Turkish, and U.S. archival sources to delineate the intentions of regulators, the practises and the impact of regulation on cinema’s development across the sprawling Ottoman Empire. From the late nineteenth century, nationalist uprisings weakened the political authority of Sultan Abdülhamid II (r. 1876-1909). In the early twentieth century, oppositional political groups pressed for constitutional government, which led to a political reformation. During the fin
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34

Lancialonga, Federico. "Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.

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À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuie
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35

Nakagawa, Iki. "Cinem-a-crobatic : trans-active cinema production in search of urban schizophrenia." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/69371.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.<br>Includes bibliographical references (p. 42-45).<br>On December 15, 1996, from 1:30 to 4:30, cinem-a-crobatic was formally presented at Columbus Park, New York City. The park is located at the intersection of China town and the Federal Court district. cinem-a-crobatic attempts to amplify the complex and shifting relationship between the urban landscape and the experience of its inhabitants, through the introduction of a new form of urban cinema production. Unlike most conventional cinematic productions, ci
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36

BLAU, CATHERINE. "Les frontieres fuyantes dans le cinema de john cassavetes." Paris 3, 1997. http://www.theses.fr/1997PA030058.

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La reflexion menee dans ce travail de recherche sur le realisateur nord-americain, john cassavetes, se propose d'apporter des elements de reponse a la problematique suivante : entre cinema, theatre et realite, entre norme, deviance et marginalite, peut-on parler de frontieres fuyantes dans le cinema de john cassavetes ? le reel et le theatre marquent de leur empreinte le cadre spatio-temporel de ses films ainsi que la fiction, a travers le jeu de l'acteur, qui se pervertit par un jeu subtil des identites en presence. La conception cassavetienne de l'acteur est marquee par de multiples influenc
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37

Pereira, Irislane Mendes. "O realizador e a personagem: relações intersubjetivas no processo criativo do documentário." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4296.

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Made available in DSpace on 2016-04-26T18:10:54Z (GMT). No. of bitstreams: 1 Irislane Mendes Pereira.pdf: 1738149 bytes, checksum: 56b495fdcbe0d5ab3fcc3a6285453694 (MD5) Previous issue date: 2011-05-13<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>This thesis aims at the study of the relations between the documentarian and his character. More specifically, it analyses the dialogue that is established between both parts. Underpinned by theories and concepts by Brazilian and foreign documentary genre scholars Fernão Pessoa Ramos, Jean-Claude Bernardet and Bill Nichols
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38

Avery, Dwayne. "(Un)homely cinema." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103637.

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This dissertation offers an analysis of the cinematic (un)homely. Loosely based on Freud's concept of the uncanny – that frightful and inexplicable experience of the home as a foreign and strange space – the (un)homely is a poignant sign of the times, a contemporary trope of the various kinds of spatial dislocation, transience, homelessness and disempowerment symptomatic of contemporary global societies. In short the (un)homely conjures up the decline of family, its faltering role as the moral center of the world and all the unpleasant ramifications that come from the destabilization of the h
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39

Rockett, Kevin. "Cinema in Ireland." Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419153.

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40

Jack, Edward James Russell. "Reading Shakespearean cinema." Thesis, University of Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443256.

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41

Ashtari, Nilufar. "Unveiling Iranian cinema." Thesis, Swansea University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497200.

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This thesis examines the history of Iranian cinema in its wider social and political context and establishes the link between gender, nationalist political and cultural processes in contemporary Iran. It argues that women's representation was central to the politics of state-formation and that the unveiled and veiled woman came to signify two conflicting political ideologies: modernisation and Islamisation. This volume maintains that in both the monarchy and the Islamic Republic, women and cinema were transformed into cultural symbols, representing the nation and national identity. The cooptio
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42

Roberts, Phillip. "Cinema and control." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/47272/.

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This thesis explores the political implications of Gilles Deleuze's two-volume work on the cinema (Cinema 1: The Movement-Image [2005a] and Cinema 2: The Time-Image [2005b]). I argue that counter to the common reading of these works as being primarily concerned with aesthetics and philosophy, Deleuze's cinema books should be understood as a political critique of the operations of cinema. I outline the main arguments set out by these works as a political formulation and argue that they should be directly related to Deleuze's more explicitly political writings. In particular, I argue that these
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43

Serrano, Inês Domingues. "Arquitectura e cinema." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2002. http://hdl.handle.net/10400.5/21076.

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Dissertação de Mestrado para obtenção do grau de Mestre em Cultura Arquitectónica Contemporânea e Construção da Sociedade Moderna, apresentada na Faculdade de Arquitectura da Universidade Técnica de Lisboa<br>Neste trabalho procurou—se construir um espaço entre duas disciplinas: a arquitectura e o cinema. Revelando uma cumplicidade inesperada, o cinema submerge nos ritmos da cidade, tornando—os visíveis. Ä cidade como cenário mutável, de estratos cumulativos de memórias e vestígios materiais dos gestos, dos tempos que a vão construindo. O cinema descobre esse território de utopias e apropria—s
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44

Eriksson, André. "Views : Cinema, redefined." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229697.

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Transforming the first floor of a 1950s building at Sveavägen, Stockholm, this project aims to redefine the traditional cinema. This is not a perfect quiet black box, but a place for sharing, experiencing and discussing film. A cinema for independent films, short films, documentaries and film festivals, but perhaps also presentations and lectures. A flexible building that can open up, or close down, depending on the event. A cinema where one can sit down for a brief movement with a coffee, or spend an evening at the big screen.
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45

Rochford, Julia Jane. "Geographies of Cinema." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9503.

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This research paper explores the notion of Cinema in relation to the concept of outside space as discussed throughout the writings of Gilles Deleuze. Through contemporary thinkers of Deleuzian thought such as David Rodowick and Simon O’Sullivan, I study the capabilities of the camera to produce spaces for new thoughts and ideas to develop. This study of cinema begins with Modern cinematic approaches to the moving image, in particular directors such as Michelangelo Antonioni who enter into a dialogue with the flawed, unidealised reality pervading the Post-war period and the effects of the Indus
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46

Newton, James. "The anarchist cinema." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54753/.

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There has been only a minimal amount written in academic circles on the connections between political anarchism and cinema. Alan Lovell focuses on allegorical readings of films by Jean Vigo, Luis Bunuel, and Georges Franju. Richard Porton examines the historical representation of anarchists and their ideas. More recently, Nathan Jun lays out ideas for a proposed ‘cinema of liberation’. Yet these three writers, who provide the most notable attempts at wrestling with the subject, barely refer to one another. This means that there are disconnections in the areas of existing scholarly research, an
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47

Ferrari, Rodrigo Duarte. "Ensinar-aprender cinema." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/162757.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação, Florianópolis, 2015.<br>Made available in DSpace on 2016-05-24T17:46:01Z (GMT). No. of bitstreams: 1 339068.pdf: 64394428 bytes, checksum: 317f59e7744f76738f4b2efe9f2b77ae (MD5) Previous issue date: 2015<br>O ensino-aprendizagem do cinema através da percepção e da cognição incorporadas é o foco desta pesquisa teórica e aplicada. A partir de uma revisão teórica multidisciplinar da dimensão reflexiva dos mecanismos e fenômenos perceptivos e cogni
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48

Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.

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The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a
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49

Giacometti, Andrea <1988&gt. "Cinema e Storia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3611.

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La tesi si propone di affrontare il rapporto che intercorre tra lo studio storico tradizionale e la cinematografia: i metodi di ricerca storica attraverso il mezzo cinematografico, la possibilità di divulgazione storica tramite il cinema, la ricerca della verità storica nel documentario e nel cinema di fiction. La tesi si propone altresì di ricercare e proporre delle linee guida per una critica cinematografica improntata su un metodo quanto più possibile di ordine storico, in aggiunta a quel metodo basato sull'estetica e sul procedimento scomposizione/ricomposizione che ad oggi è la base della
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50

Pistone, Marianne. "L’autrement qu’être dans le cinéma d’Apichatpοng Weerasethakul : une étude de l’apparaissant". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC009.

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Ce travail de thèse se propose de considérer le cinéma d’Apichatpong Weerasethakul sous l’angle du visible et de l’invisible et du mouvement qui va de l’un à l’autre. Cet angle est celui de l’apparaissant, c’est-à-dire de ce qui, entre la divulgation, l’émergence et l’occultation, a lieu ou se retire. Il n’est pas seulement – posément – apparent mais bien apparaissant, c’est-à-dire entrevu dans l’inquiétude de l’acte d’apparition. En se concentrant notamment sur les espaces cruciaux des films que sont les jungles, une prospection mésographique est engagée dans les champs de la spatialité et d
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