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Tesis sobre el tema "Motion pictures France"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

Mochiri, Pouneh. "Ut pictura prosa ornata : fonctions et implications de la description d'art dans la littérature en prose au XVIè (Domaine Franco-Italien)." Paris 7, 2002. http://www.theses.fr/2002PA070081.

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Notre réflexion s'exerce sur l'écriture de l'œuvre d'art dans la littérature en prose du XVIe siècle. Tout en prenant en compte les considérations théoriques relatives à la catégorie de l'image ainsi que les débats humanistes menés dans le cadre des traités d'art italiens, l'analyse s'occupe essentiellement des textes d'allure narrative, français et italiens. Le "descriptif", entendu comme une forme d'interférence du visuel dans l'espace textuel, comprend aussi bien l'ekphrasis des artefacta au sens large que l'évocation des ensembles paysagers, les portraits féminins et les scènes archétypale

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21

Gibbs, Cheryl Jeanne. "The Quaker Farm Boy and the Wizard of Menlo Park: How C. Francis Jenkins Fought to Keep Thomas Edison from Claiming Credit for One of Jenkins' Most Significant Inventions." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1543522521915393.

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22

Marí, Company Francesc. "Napoleón Bonaparte y el cine: una interpretación histórica." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397671.

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Cada vez más todas las ciencias se están viendo sujetas a una evolución técnica, inevitable en los tiempos que corren, entre estos avances se incluyen las fuentes audiovisuales. Desde hace ya algún tiempo las ciencias humanas que habían permanecido bajo la protección de las fuentes escritas, sean registros y documentación históricos, o bien trabajos de investigación y divulgación de autores contemporáneos, parecía que estas ciencias seguirían un camino tradicional, pero se han visto complementadas e, incluso, fundamentadas en las fuentes audiovisuales, entre ellas el cine. El conocido como

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23

Ionita, Casiana Elena. "The Educated Spectator: Cinema and Pedagogy in France, 1909-1930." Thesis, 2013. https://doi.org/10.7916/D8HQ3ZXR.

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This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic -- republicans, Catholics, Communists, and the first film avant-garde known as the Impressionists --

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24

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

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Includes filmography: leaves 252-256. Bibliography: leaves 241-251. This thesis compares the representation of colonial history in the cinema of France and Australia since 1970. Films examined all had historical colonial settings, a narrative focus principally on aspects of the colonisation process and a director who was descended from former colonisers. It concludes that there are few sustained attempts to confront and resolve the problematic aspects of colonialism's legacy. The tendency to contain the representation of the colonial past within a fictional framework has the inevitable consequ

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25

Bercov, Kimberly Dawn. "Investing in the domestic : the crisis of the modern city in late new wave cinema." Thesis, 2001. http://hdl.handle.net/2429/11630.

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Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the city of Paris and a young housewife living in a modern apartment on the outskirts of the city. Godard has insisted that this 'elle' is only Paris and not Juliette—the housewife whose daily activities the film documents. Yet the movements of Juliette within the film are inseparable from the knowledge imparted by the filming of the city's public and domestic spaces. Further, her quotidian route through these sites must constantly neg

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26

"Hong Kong film policy: a critical study." 2007. http://library.cuhk.edu.hk/record=b5893457.

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Chung, Simon.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.<br>Includes bibliographical references (leaves 123-130).<br>Abstracts in English and Chinese; appendix 2 in Chinese.<br>Abstract<br>Chapter Chapter 1 --- Introduction --- p.4<br>Chapter Chapter 2 --- "Film Policies in France, Canada and Korea" --- p.19<br>Chapter Chapter 3 --- Hong Kong Film Policy --- p.65<br>Chapter Chapter 4 --- Conclusion --- p.106<br>Appendix --- p.114<br>Bibliography --- p.120

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27

Winkel, Adam Lee. "Zones of Influence: The Production of Madrid in Early Franco Spain." Thesis, 2014. https://doi.org/10.7916/D86T0JN9.

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Within Spanish cultural studies, urban studies have become increasingly popular in the last twenty years. While this literature covers a wide range of Spanish locales and historical periods, there are still few comprehensive analyses of the production of Madrid's urban space between the Civil War and the economic boom of the 1960s. This dissertation contributes to the field through the examination of the symbolic production and use of Madrid during the first decades of the Franco dictatorship. I argue that the disciplining of Madrid's urban space was a means of organizing the capital's citizen

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28

Grenier, Stephanie C. "Freedom of speech, cinema and censorship : a comparative analysis of issues of freedom of speech violations as a result of the rating regulation authorities in the motion picture industry in France and the United States." 2002. http://purl.galileo.usg.edu/uga%5Fetd/grenier%5Fstephanie%5Fc%5F200208%5Fllm.

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