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Tesis sobre el tema "France In motion pictures"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 7 de febrero de 2022

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1

Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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2

Strauss, Angela L. "The economic impact of film tourism on small communities." Th author, 2003. http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=.

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Thesis (M.A.)--University of Wisconsin-Stout., 2003.<br>"December, 2003". "A research paper submitted in partial fulfillment of the requirements for the Master of Science Degree with major in Global Hospitality; Approved: 3 semester credits (signature) professor Lynnette Brouwer; The Graduate School, University of Wisconsin-Stout." Description based on 2005 edition printed on Aug. 2, 2007 from http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail= Bibliography p. 36-40. Also

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3

Noble, Fiona. "Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.

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4

Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.

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5

Lehin, Barbara. "Cinema and society : Thatcher's Britain and Mitterand's France." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.

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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about societ

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6

Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.

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7

Phillips, Alastair. "City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.

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Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigr

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8

Trippe, William Micah. "Where are the urban mechanics? : the case of the French city film 1926-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.

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9

Ward, Glenn. "Journeys into perversion : vision, desire and economies of transgression in the films of Jess Franco." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6928/.

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Due to their characteristic themes (such as 'perverse' desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish 'sex and horror' specialist Jess Franco. My textual and contextual analysis shows that Franco's films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco's treatment of 'aberrant' and gothic

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10

Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.

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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared

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11

Walkley, Sarah Elizabeth. "To what extent can France continue to defend the cultural exception in the digital age? : an analysis of cultural diversity in the French film industry." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80230/.

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Since the first General Agreement on Tariffs and Trade in 1947, France has insisted that cultural products are different from other traded goods and should be exempted from ongoing liberalisation of international trade – a principle known as the ‘cultural exception’. This exclusion allows France to implement policies in favour of its cultural industries, particularly a highly complex system of quotas and subsidies for the film industry which it maintains is essential to counter US market dominance and maintain cultural diversity. Over the past decade, the launch of video-on-demand services has

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12

Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, i

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13

Vaughan, Michael Hunter. "From camera to code : Godard, Resnais and the problem of representation in film theory." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.

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This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This rel

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14

Peters, Claire Isla MacLeod. "Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.

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This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to

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15

Koch, Anna. "Characters as social beings : social performance in the French and Czechoslovak New Waves." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:21a0725e-0028-4ddb-9c9d-4eee40148cc3.

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This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, a

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16

Bellego, Christophe. "Three empirical essays on movie admissions in the french motion picture industry." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E060.

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A la frontière entre les industries du divertissement et la production culturelle, grand fournisseur de contenu à l'économie numérique, l'industrie du cinéma soulève des questions intéressantes dans le champ de l'économie et du marketing. Cette thèse répond à trois questions empiriques importantes sur ce sujet à l'aide de différentes méthodes adaptées (économétrie des données de panel, différence-de-différences, économétrie structurelle) et propose un nouveau développement théorique du modèle nested logit. Le premier chapitre étudie l'effet des notes des consommateurs sur Internet, et analyse

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17

Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritie

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18

McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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19

Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

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20

Cazdyn, Eric M. "Problem cinema : culture, capital and form in Japan /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.

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21

Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.

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22

Carbonaro, Joseph. "Enabling church members to evaluate the moral content of feature films." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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23

Tam, Siu-yan Xavier. "Between penumbrae and shadow contextualizing transnational queer Chinese cinemas /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44142663.

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24

Wang, Qi. "Writing against oblivion personal filmmaking from the forsaken generation in post-socialist China /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619151901&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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25

Restoule, Jean-Paul. "How "Indians" are read the representation of aboriginality in films by native and non-native directors /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30998.pdf.

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26

Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.

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27

Yang, Jing. "The construction of the Chinese woman in 1990s American cinema." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.

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28

Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

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29

Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /." Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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30

Szaloky, Melinda Terezia. "Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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31

Zhu, Ying. "From art to commerce : Chinese cinema in the era of reforms /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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32

Ming, Kee-ying Thomas. "An analysis of the filmic : a philosophical grounding for film aesthetics /." [Hong Kong] : University of Hong Kong, 1993. http://sunzi.lib.hku.hk/hkuto/record.jsp?B15949941.

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33

Tiburzi, Brian M. "The fifth generation Chinese cinema's "great leap forward" /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1445180.

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34

Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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35

Gulledge, Jim. "A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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36

Berrien, John P. "The portrayal of the clergy in selected American films from the 1930's to the 1970's." Theological Research Exchange Network (TREN) Access this title online, 1989. http://www.tren.com.

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37

Luce, Micah. "The cinema and the church experiential [koinonia] in audience and congregation /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p051-0115.

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38

Suen, Pak-kin. "Filming gay representations : male homosexuality in Hong Kong and Taiwanese cinema /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23242036.

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39

Potter, George Alexander. "Iphone to IMAX: the social implications of screen size." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/potter/PotterG1208.pdf.

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Screen size changes the way the moving image affects viewers and specific content is more likely to be influential if screened on the most appropriate media type. The ever-increasing popularity of portable devices, like the iPhone, means that viewers are watching more content on smaller screens than ever before. At the same time, movie theatres and Imax screens are still as popular as ever and seeing something on the big screen holds some kind of magic for the viewer. This fact has not been lost on environmental filmmakers who are increasingly finding ways of using different sized screens to p

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40

Dawson, Harold. "The commodification of tragedy a critical examination of contemporary film /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=786.

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41

Falicov, Tamara Leah. "The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

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42

Kunkle, Daniel James. "No brute images the need for a Reformed and transcendental approach to the movies /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

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43

Lee, Tain-dow. "Reforming film study at the level of higher education in Taiwan, the Republic of China /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147137.

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44

Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.

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45

Lee, Christina H. P. "Beyond the pink : (post) youth iconography in cinema /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.

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46

Yeung, Yuk-ngan. "Gender representation in films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?

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47

Tam, Siu-yan Xavier, and 譚兆仁. "Between penumbrae and shadow: contextualizingtransnational queer Chinese cinemas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44142663.

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48

Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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49

Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.

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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relation

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50

Haygood, Ashley. "The rise of controversial content in Film." Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.

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