Thèses : « Film archive »

1

Wang, Xiaosong. « Automatic quality improvement of archive film ». Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556740.

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This thesis describes our work towards a unified framework for automatic restoration of dirt and blotches in archive film. The framework we present here is composed of three stages, i. e. defect detection, false alarm elimination, and defect removal. First, we propose a novel probabilistic approach to detect defects in digitized archive film. An HMM is characterized and trained to model the statistical changes of temporal pixel transitions over several frames before and after the current frame. The trained HMM is then applied to measure how the likelihood of an unseen observation sequence being normal varies if each single observation within it was missing, one at a time in a leave-one-out fashion. The centre pixel of the observation sequence will be marked in the defect map, if the likelihood of the observation sequence without the centre pixel is larger, by a certain degree, than the average of all likelihoods. The resulting defect maps from our proposed defect detector encapsulates the true defects very well, but can suffer from many false alarms. Therefore, we extend the defect detection method to add a two-stage false alarm elimination process, which is developed based on investigating the characteristics and causes of false alarms. The proposed false alarm approach first applies MRF modelling on the defect map to propagate neighbouring normal pixels into the false alarm region using spatial continuity constraints. Then, the pyramidal Lucas-Kanade feature tracker is adopted to impose temporal correlation constraints on spatially isolated false alarm regions. This helps increase the accuracy of the proposed method significantly. Finally, we present a novel restoration method for defects and missing regions in archive films. Our statistical framework is based on Random Walks to examine the spatiotemporal path of a degraded pixel, and uses texture features in addition to intensity and motion information traditionally used in previous restoration works. The degraded pixels within a frame are restored in a multiscale framework by up- dating their features (intensity, motion and texture) at each level with reference to the attributes of normal pixels and other defective pixels in the previous scale as long as they fall within the defective pixel's random walk-based spatiotemporal neighbourhood. The proposed algorithms are compared against state-of-the-art and industry-standard methods to demonstrate their improved detection and restoration performance using our archive film restoration dataset.·.

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Op, den Kamp Claudy Wilhelmina Elisabeth. « The go-between : the film archive as a mediator between copyright and film historiography ». Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3378.

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Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.

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McDonald, Mary Catherine. « National Museum of Film and Photography ». Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.

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Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value. This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.
Master of Architecture

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DeLassus, Leslie Marie. « Salvage historiography : viewing, special effects, and Norman O. Dawn's unpreserved archive ». Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2203.

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This dissertation excavates the work of early special effects cinematographer Norman O. Dawn in order to explore film spectatorship, the ephemerality of the cinematic image, and motion picture preservation and archival practices. Best known for his innovations of glass and matte shot techniques, Dawn produced 861 composite images while working in the U.S. film industry between 1906 and 1954. Although technological film historians acknowledge the importance of Dawn’s innovations to the development of motion picture special effects, the composite images themselves as well as the films for which they were produced remain in relative obscurity. Rather than attempting to recover these objects for inclusion in an existing film canon, my research interrogates their obscurity by analyzing Dawn’s special effects processes against the broader economic concerns that inform the dominant practices of the US film industry during the first half of the twentieth-century. My research begins with the Norman O. Dawn collection housed at the Harry Ransom Humanities Research Center, which is the most comprehensive historical record of Dawn’s work in the film industry. Constructed by Dawn himself between 1962 and 1974, this collection consists of 164 poster-sized collages of archival ephemera that illustrate the special effects processes employed in the production of 235 composite images for eighty-five films. While these eighty-five film titles constitute a tentative corpus upon which to base my research, seventy of these films are lost, which raises questions concerning the relationship between motion picture preservation and film history, specifically why these films have not been preserved while others have and to what extent the economic imperatives of the film industry have determined these conditions. I address these questions in my analysis of archival material related to these films, finding that they traverse several distinct domains of film practice—including early scenic footage for newsreels and the amusement park ride Hale’s Tours of the World, early one-reel travel films, silent-era studio shorts, serials, and B features, and poverty row and independently-produced silent and sound feature-length films—thereby situating Dawn’s special effects at the intersection of the early and contemporary cinematic modes often aligned in studies of cinematic special effects. I argue that this heterogeneous corpus points to a studio-era Hollywood cinema alternative to the classical model, largely forgotten because it is dominated by low-budget product intended to supplement more costly feature films. In contrast to the classical model, this alternate cinematic mode emphasizes the scenic and thrilling elements that characterize both early exhibitionist films and contemporary effects-driven blockbusters. In this context, Dawn’s special effects processes constitute a historically marginalized practice precisely because they are non-routine techniques that provide cost-effective means to produce otherwise economically infeasible scenes, and, as such, operate on the periphery of conventional film production.

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Machová, Jana. « Digitalizace filmového materiálu v kontextu filmových archivů ». Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-264350.

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The thesis is devoted to the topic of film material archiving, digitization, digital restoration and possibilities of preserving a digital copy of the film. In the theoretical part, the reader will be introduced to the basic concepts related to topic of film material preservation and digitization. The digitization process will be explained both in theory and on practical examples from digitization of film Old Czech Legends. Based on the theoretical knowledge from the first part, the situation regarding digitization of film material in the Czech Republic and Slovak Republic will be discussed in the practical part. This thesis aims to find the fundamental differences in film material digitization approaches in these two countries.

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Nolan, Petra Désiréé. « The cinematic flâneur : manifestations of modernity in the male protagonist of 1940s film noir / ». Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000122.

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Michelon, Pierre. « Les déportations politiques au sein de l'empire colonial français. Des récits, des archives et des voix pour dessiner une carte cinématographique de la décolonisation, telle qu'elle n'a pas pu être, telle qu'elle n'est pas encore ». Thesis, Paris Sciences et Lettres (ComUE), 2019. https://tel.archives-ouvertes.fr/tel-02873555.

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« Ubi solitudinem faciunt, pacem appellent » (italiques)« Là où ils ont créé la solitude, là où ils ont fait le vide et le silence, ils appellent cela la paix » (italiques)Tacite, Discours de Calgacus en 83, cité par l’historien Louis-José Barbançon dans « La Conférence de Louis-José Barbançon sur les déportations politiques », Mwà Véé, Revue culturelle kanak, n°51, 2006, p.51De Guyane française ("française" en italiques), de Kanaky, d’Algérie ou de France des voix s’élèvent, celles des condamné.e.s politiques déporté.e.s par la puissance coloniale face à laquelle ils ou elles tentaient de faire front.Une histoire méconnue se dévoile et se construit : elle mêle des espaces géographiques et des destins multiples ; des idéologies et des contextes de luttes qui se rencontrent, s’associent ou s’opposent ; des correspondances clandestines, acheminées ou non ; des « travaux » forcés, des évasions ou des disparitions. C’est un passé commun, un passé traduit et pluriel. C’est écrire ou parler l’histoire de la violence.Cette fable politique se construit avec celles et ceux qui se souviennent. Quelques enfants de condamné.e.s, quand ils le peuvent, quand ils le veulent, évoquent la mémoire de leurs parents déportés ; d’autres militant.e.s parlent de leurs luttes au présent de l’indicatif, depuis la « postcolonie », depuis « l’outre-mer ». Avec elles et avec eux, Pierre Michelon collecte et produit un ensemble de poèmes, de traductions et de films, qui raconteraient - conditionnel - une histoire des décolonisations, telles qu’elles n’ont pas pu être, telles qu’elles ne sont pas encore
« Ubi solitudinem faciunt, pacem appellent » (italiques)« [...] and where they make a desert they call it peace » (trad. Oxfordrevised edition)« There where they brought desolation, where they imposed nothingness and silence, they call that peace » (italiques) (traduction : Tom Stockton)Tacitus, Discourse pronounced by Calgacus in 83, excerpt from Agricola, quoted by the historian Louis-José Barbançon in « La Conférence de Louis-José Barbançon sur les déportations politiques », Mwà Véé, Revue culturelle kanak, n°51, 2006, p.51Timidly the winds have been whispering in the rushes and from French Guiana ("french" en italiques), Kanaky, Viêt Nam, Algeria or France rising voices have started to escape. These voices are those of political prisoners, deported by the colonial powers that they were trying to oppose.Across this story’s complex cloth diverse geographies and multiple destinies have been woven ; manifold ideologies and contexts of struggle have met and thereafter twined or opposed one another ; bright threads from clandestine correspondences (arrived or not) have been stitched ; forced “labour”, stories of escapes and disappearances have recurred as disturbing patterns.With some of the prisoners descendants, when they are able to, when they want, Pierre Michelon is gathering a serie of poetic videos, translations, and collective memories.(traduction : Tom Stockton)

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Rich, Philip. « The culture of cruising : Post-war images form the NMM'S film archive ». Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.

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This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.

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Fernandez, Escareño Itzia Gabriela. « La compilation, un outil paradoxal de valorisation des films muets recyclés par Peter Delpeut et coproduits par le Nederlands Filmmuseum [1989-1999] ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00759225.

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La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d'archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s'agit d'abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l'histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d'une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s'oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l'analytique, étant au-delà et en deçà d'une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l'institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d'un patrimoine cinématographique.

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Pennell, Miranda. « Film as an archive for colonial photographs : activating the past in the present ». Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9ww05/film-as-an-archive-for-colonial-photographs-activating-the-past-in-the-present.

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This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

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Nolan, Petra Désirée. « The cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir / ». Connect to this title online, 2004. http://eprints.unimelb.edu.au/archive/00000122/.

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12

Antell, Molly A. « Archiving the Archive : A Tribute to the Machines that Held our Memories ». Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1275.

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Archiving the Archive is an exploration of the changing ways we hold our memories through media. As digital technology becomes ever more present in daily life, many old analog media are becoming obsolete. Throughout history, these media technologies have done significant cultural work through their ability to hold and share the content that formed collective memory and shared identity. But the way we view content is changing. This project aims to serve as remembrance to this symbolic work and the physical uniqueness of these media through illustrative prints imbued with a movement and life otherwise overlooked. These memories are then fractured and abstracted onto postcards that visitors are encouraged to take with them to create a new sort of collective memory of these media objects.

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Fitzpatrick, Edwina. « Artists' geographies of the landscape-archive : trace, loss and the impulse to preserve in the Anthropocene Age ». Thesis, Glasgow School of Art, 2014. http://radar.gsa.ac.uk/4702/.

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Krohn, Johannes. « Karl-Anders Wollters filmsamling på filmarkivet i Grängesberg ». Thesis, Uppsala University, Department of ALM, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-126264.

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The aim with this archive guide is to give a guide to Karl-Anders Wollter’s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962–1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life. In his work as a diplomat Wollter visited a lot of different places around the world, but he also travelled and made some trips with hisfamily. The collection also consists of footage from state visits, installations, negotiations in conflicts and inter-national conferences with politicians. Altogether the film collection gives not only a good view of how the life as a diplomat might be, but also of the development of the society and footage over villages and minor villages both in Sweden and other countries. This archive guide could thus serve as a guide both to those who are interested in the life as a diplomat, politic – and civic life and for those who are interested in cities and minor village’s devel-opment over time. This archive guide can also serve as a guide for those who are looking for film footage for various documentaries.

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Desoutter, Gaëtan Cuenot Bénédicte. « Étude numérique de la propagation d'une flamme sous influence d'un film liquide de carburant sur la paroi ». Toulouse : INP Toulouse, 2007. http://ethesis.inp-toulouse.fr/archive/00000517.

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Desoutter, Gaëtan. « Étude numérique de la propagation d'une flamme sous influence d'un film liquide de carburant sur la paroi ». Toulouse, INPT, 2007. http://ethesis.inp-toulouse.fr/archive/00000517/.

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Au cours de ce travail de thèse, nous avons étudié l'interaction flamme-film liquide à l'aide d'analyses numériques et de nombreux développements théoriques. L'objectif est de maîtriser les mécanismes de base qui entrent en jeu lors de l'interaction de la flamme avec un film liquide, en particulier son évaporation à l'approche de la flamme et son impact sur la structure de cette dernière. Dans un premier temps, nous avons effectué des simulations numériques directes (DNS) de cette interaction en régime laminaire afin de cerner ses mécanismes fondamentaux. Dans une seconde partie, nous avons travaillé sur l'étude des mécanismes de l'évaporation d'un film liquide. Dans une troisième partie, un modèle d'évaporation de film liquide mono composant a été développé pour le formalisme RANS (Reynolds Average Navier Stokes) en intégrant au maximum les contraintes liés aux moteurs automobiles. Enfin, dans la dernière partie, une étude paramétrique d'un moteur essence et d'un moteur diesel a été effectuée avec le code de calcul IFP-C3D
During the PhD tesis, we studied the liquid film-flame interaction using numerical analyses and many theoritical developments. The aim is to understand the basic mechanisms witch govern the interaction of the flame with a liquid film, especially the evaporation of the film when the flame approaches and its impact on the structure of the flame. First, we carried out DNS of this interaction in laminar flow in order to discover its fundamental mechanisms. Second, we studied the mechanisms of the evaporation of a liquid film. Third, a mono component liquid film evaporation model was developed for the RANS formalism by integrating the constraints related to the automobile engines. Finally, a parametric study of a gasoline engine and a diesel engine was carried out with the computational code IFP-C3D

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Wecker, Danièle Anne Irène. « What do you mean you lost the past ? : agency, expression and spectacle in amateur filmmaking ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC135.

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La thèse ci-après présente une étude de films amateurs, fournis par le Centre National d'Audiovisuel au Luxembourg, dit CNA. Elle examine certaines notions de sens et d’interprétation en l’absence de métadonnées et du contexte d'origine. Plutôt que de prendre le film amateur comme genre ou pratique à part, cette étude porte sur le seul langage cinématographique. La première partie de ce travail identifie ainsi des modes filmiques hautement différenciés et interprétés à partir des images. Sans contexte original, ces films perdent leur principale source de signification, à savoir les commentaires fournis par les membres de la famille. En effet, la projection du film dans le cercle familial interpelle les souvenirs et donne lieu à l’explication des évènements reproduits. La présente thèse examine ces images comme vestiges d'une narration visuelle plutôt qu'en termes de récit de souvenirs. Elle adopte le point de départ très simple que ce qui est filmé était important pour les cinéastes. De plus, elle examine comment le langage filmique peut servir comme illustration des intentions et motivations, à la fois volontaires et involontaires. Y suit l’examen des différents styles employés dans les films amateurs. J’attire l’attention sur la codification culturelle sous-jacente à la pratique de représentation dans le privé, qui prend la langue filmique comme moyen d'auto-narration. La deuxième partie aborde les films amateurs comme moyen d’expression primitif d’une tentative de signification qui implique le chercheur et sa propre expérience. La projection des films est constitutive de ce processus d'entrée en signification
The following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning

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Niedermeyer, Michael. « The development of the University of Central Florida home movie archive and the Harris Rosen collection ». Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4663.

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Since the invention of the cinema, people have been taking home movies. The ever- increasing popularity of this activity has produced a hundred years worth of amateur film culture which is in desperate need of preservation. As film archival and public history have coalesced in the past thirty years around the idea that every person's history is important, home movies represent a way for those histories to be preserved and studied by communities and researchers alike. The University of Central Florida is in a perfect position to establish an archive of this nature, one that is specifically dedicated to acquiring, preserving, and presenting the home movies of Central Florida residents. This project has resulted in the establishment of The Central Florida Home Movie Archive, and the resulting analysis will show that the archive will be a benefit for researchers from all areas of academic study as well as the residents of Central Florida.
ID: 029049897; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 83-84).
M.A.
Masters
Department of History
Arts and Humanities

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Britt, Tara Danielle. « Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers / ». Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2007.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.

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Garcia, Gabrielle S. « I Feel Like I Can Get Home From Here : An Archive of Butch Lesbian Life and Persistence ». Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1321.

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I feel like I can get home from here is an archive of the resilience, multiplicity, and survival of butch lesbians who continue to straddle the margins of a larger LGBTQ community and heterosexual world, and the lines of hypervisibility and erasure. As both a print book and digital archive, this project aims to compile meaningful textual and visual content about butch lesbians into one space and explore themes of identity, childhood, community, memory, history, and trajectories. Combining digital photography, questionnaire answers, interview transcripts, photo manipulation, and personal writings, the project aims to encapsulate a snapshot of contemporary understandings of butch embodiment in a manner that is documentary and figurative. 60 participants shared their stories and experiences in the form of in-person interviews and an online questionnaire. I feel like I can get home from here highlights the ideas that butch is a multiplicitous and nebulous identity that is vital to understandings of gender and sexuality and that a butch-designed archive can combat systematic erasure and stereotyping. Within its scope, the project serves as its own standalone emotive archive and gives greater depth and voice behind a butch image superficially propagated by media and commonplace stereotyping. The project derives influence from and negotiates theories that deal with symbolic annihilation and the conceptual archive, lesbian semiotics and identification, and (lesbian) photography. At its core, this project is a celebration, a living history, and a deep embodiment of community and love that speaks to a butch past, present, and future and the possibilities of masculinity.

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Weatherburn, Gwyneth Christine. « The effect of the introduction of picture archive and communication systems (PACS) on patient radiation doses and patient management ». Thesis, Brunel University, 2000. http://bura.brunel.ac.uk/handle/2438/4975.

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This thesis considers the effects of Picture Archive and Communications Systems (PACS), on both patient radiation doses and patient management. PACS is a relatively new technology which acquires, transmits, and stores radiological images digitally. This thesis investigates the doses which are required to produce radiographic images which are acceptable to radiologists and referring clinicians, and compares these doses with those required for the film/screen systems which they are replacing. A review of the literature shows that despite claims of dose reductions, very little good evidence exists about dose changes with the introduction of PACS. A comparison of images of test objects indicates that the images are comparable under limited conditions, that PACS has a much wider latitude than film (>250 mAs), and that contrast detail improves with increase in exposure. Two original observational studies are described in which PACS and film doses are compared for examinations of two groups of adult patients. The results indicate that the doses for PACS equate to those used with a 300 speed film/screen system thus necessitating dose increases of around 30% for the majority of adult patients in the UK. The issue of whether the number of images which are repeated, with additional patient doses, due to unsatisfactory images (rejected images), or unavailability of the images when clinically required (lost images), is addressed and indicates that PACS may allow a dose saving of 1.1 % and 1.4% respectively. The overall result of these studies indicates that the widespread introduction of PACS is likely to increase population doses. Two original studies which consider patients within the Accident and Emergency department are described. These studies aim to produce evidence to justify the introduction of the new technology, despite higher radiation doses, by identifying improvements in patient management which might improve patient outcomes. The results of these studies provide little evidence of such benefits to patients. This thesis concludes that the use of current PAC systems produces an increase in the radiation dose to the adult population in the UK, without demonstrable improvements in patient management.

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Miller, Rachel R. « The Girls' Room : Bedroom Culture and the Ephemeral Archive in the 1990s ». The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu159361168956799.

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Poos, Francoise. « The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition ». Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.

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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.

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Haroun, Yacine. « Étude du transfert de masse réactif gaz-liquide le long de plans corrugués par simulation numérique avec suivi d'interface ». Toulouse, INPT, 2008. http://ethesis.inp-toulouse.fr/archive/00000700/.

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Ce travail rentre dans le cadre du développement des procédés de traitement de gaz acides et de captage de CO2. L'objectif est d'étudier numériquement les phénomènes de transferts de masse réactif dans des configurations proches de celles rencontrées dans les contacteurs de type garnissage structuré. Les écoulements considérés sont du type « film ruisselant » le long d'une géométrie corruguée cisaillé par un flux gazeux chargé d'espèces acides. Les espèces acides de la phase gaz s'absorbent dans le film liquide où elles réagissent chimiquement. Des simulations numériques sont menées afin de comprendre l'impact des propriétés physiques et géométriques sur le transfert de masse réactif, pour des gammes proches des conditions industrielles
This work is done within the framework of gas treatment and CO2 capture process development. The main objective of the present work is to fill the gap between classical experiments and industrial conditions by the use of Computational Fluid Dynamics (CFD). The physical problem considered corresponds to the liquid film flow down a corrugate surface under gravity in present of a gas phase. The chemical species in the gas phase absorb in the liquid phase and react. Numerical calculations are carried out in order to determine the impact of physical and geometrical properties on reactive mass transfer in industrial operating conditions

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Tofighian, Nadi. « The role of Jose Nepomuceno in the Philippine society : What language did his silent films speak ? » Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-899.

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This paper examines the role of the pioneer Filipino filmmaker Jose Nepomuceno and his films in the Philippine quest for independence and in the process of nation-building. As all of Nepomuceno's films are lost, most of the information was gathered from old newspaper articles on microfilm in different archives in Manila. Many of these articles were hitherto undiscovered. Nepomuceno made silent films at a time when the influence of the new coloniser, United States, was growing, and the Spanish language was what unified the intellectual opposition. Previous research on Nepomuceno has focused on the Hispanic influences on his filmmaking, as well as his connections to the stage drama. This paper argues that Nepomuceno created a national consciousness by making films showing native lives and environments, adapting important Filipino novels and plays to the screen and covering important political topics and thereby creating public opinion. Many reviews in the newspapers connected his films to nation-building and independence, as the creation of a national consciousness is a cornerstone in the process of building a nation and defining "Filipino". Furthermore, the films of Nepomuceno helped spreading the Tagalog culture and language to other parts of the Philippines, hence making Tagalog the foundation of the national Filipino language.

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Jönsson, Fredrik. « Sanctuary of the Man-made ». Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223410.

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They seek to embrace and understand the complexity of the man-made. They live alongside one another in a cluster - reflecting, synthesizing, producing and celebrating. They created their spaces and hierarchies through the basic principles of the wall and the column. The Sanctuary of the Man-made is an exploration of elements through a narrative that aims for a deeper understanding of human built complexity.

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Castro, Isabel. « "Ne m'intéresse que ce qui n'est pas à moi" : une approche esthétique de la reprise d'archives dans deux films d'histoire au Brésil pendant la dictature ». Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA055/document.

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Dans le but d'évaluer la portée historiographique de ce choix de montage qui consiste à faire œuvre cinématographique à partir d'images déjà existantes, cette thèse développe une étude de deux films de réemploi réalisés au Brésil dans le début des années 1970 : História do Brasil (Histoire du Brésil, Glauber Rocha et Marcos Medeiros, 1974) et Triste Trópico (Triste Tropique, Arthur Omar, 1974). Œuvres uniques dans la filmographie de cinéastes importants, ces films, réalisés uniquement à partir du recyclage de matériaux divers, partagent en plus de leur méthode atypique de réalisation, un intérêt central pour la compréhension de l'histoire du Brésil. Dans leur travail avec les images préexistantes, História do Brasil et Triste Trópico actualisent des questions qui traversent non seulement l'esthétique cinématographique, mais plus généralement le champ de la création culturelle brésilienne des années 60-70, période politiquement marquée au Brésil par une dictature militaire (1964-1985). À partir d'une analyse esthétique du montage, nous nous interrogeons sur la façon selon laquelle ces films s'approprient l'histoire et construisent à l'aide des procédés mêmes de montage un regard sur la société brésilienne du temps présent, celui de leur réalisation. À partir de quels matériaux et de quelles stratégies discursives développent-ils une pensée historique ? Un troisième film, postérieur, Tudo é Brasil (Rogério Sganzerla, 1998), est ponctuellement convoqué dans la première partie de la thèse, afin de montrer combien certains choix politiques et esthétiques de ces films de réemploi de 1974 signalent une position générationnelle, partagée par Sganzerla, qui se prolonge dans le temps
This thesis develops a study of two compilation films made in Brazil in the early 1970s: História do Brasil (History of Brazil, Glauber Rocha and Marcos Medeiros, 1974) and Triste Trópico (Sad Tropic, Arthur Omar, 1974). Unique works in the filmography of important filmmakers, these films, made from the appropriation of various materials, share in addition to their atypical method of filmmaking, a central interest for the understanding of the history of Brazil. They radically exploit the power of rewriting what already exists to build a new work of historical content. In their work with pre-existing images História do Brasil and Triste Trópico address issues that concern not only the cinema, but the field of Brazilian cultural creation of the 60s and 70s, period politically marked in Brazil by the military dictatorship (1964-1985). Based mostly on an aesthetic analysis of the film's montages, we question the way in which they "write" history and offer, in their very editing processes, a perspective at Brazilian society. From what materials and discursive strategies do these films develop their historical thoughts? The thesis aims to contribute to the establishment of a range of film recycling practices and theoretical questions about the presence of archival footage in cinema, as well as about the relationship between cinema and historical narrative
Esta tese desenvolve um estudo sobre dois filmes de reemprego brasileiros realizados no início dos anos 1970: História do Brasil (Glauber Rocha e Marcos Medeiros, 1974) e Triste Trópico (Arthur Omar, 1974), com o objetivo de avaliar o alcance historiográfico da escolha estética e política do reemprego de imagens já existentes como método de realização. Obras singulares na filmografia de artistas importantes, esses filmes, realizados fundamentalmente a partir da retomada de materiais diversos, compartilham, além de seu raro método de realização, um interesse central pela compreensão da história do Brasil. Trata-se de filmes que exploram radicalmente a potência de re-criação e re-escritura (ou releitura) do que já existe para a construção de uma obra nova, com intenções históricas. Através da montagem de materiais do passado, História do Brasil e Triste Trópico atualizam questões que atravessam não somente o cinema, mas o campo da criação cultural brasileira dos anos 60-70, período marcado politicamente pela vigência da ditadura militar no Brasil (1964-1985). A partir de uma análise estética, o objetivo desta tese é pensar como os filmes elaboram suas narrativas de caráter histórico e constroem, através dos próprios procedimentos da montagem, um olhar sobre a sociedade brasileira do tempo presente de então, o início dos anos 1970. A partir de quais materiais e estratégias discursivas eles elaboram um pensamento sobre o Brasil e a história? Um terceiro filme, posterior, Tudo é Brasil (Rogério Sganzerla, 1998), é pontualmente convocado na primeira parte da tese, a fim de mostrar o quanto determinadas escolhas políticas e estéticas destes filmes de reemprego de 1974 apontam para uma postura geracional, compartilhada por Sganzerla, que se prolonga no tempo

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Bonizzi, Valentina. « Cartographers : a practice based investigation on memory, conflict and the aerial image ». Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/eb89f1c5-fe9c-4250-a7d6-d74fe235e67a.

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The power of the relationship between the photographic apparatus and migration is situated at a metaphorical crosslink between the two-dimensional outcome of marking borders on a map, or printing an image on a flat surface, and the time that affects the events that shape the very heart of that crosslink. The rigidity of borders, and sometimes their false ideas of flexibility can be seen on how recently Europe has proved (again) that ‘open boundaries’ is a non specific inclusive idea. The experience of migrants going through conflict situations is representative of the relationship between the ‘having to deal with’ the happenings, in most cases forced, and at the same time changing, transforming the landscape, leaving or bringing old and new values. Therefore the democratic power in this work is intended as the collective recognition of the importance of simple acts of looking, bringing values to the transformative nature of human beings. Because of its mechanical nature and the stillness of the images it produces, photography has the capacity to show transformation, with the quality of its materiality, which continuously challenges the users of photography in accessing different formats, since its invention. In the context of this work (Cartographers), photography becomes an inspiration for the concept, planning and making of the film process. Film can embrace elements that photography doesn’t have, like sound and duration, added to landscape and to portraits. These elements may help the viewer to understand a narrative that grows from a single trunk, the film, whose roots are holding onto the lightness of the sky instead of the thickness of the ground by representing, filmically, the expressions of the people who speak about their experiences. The ‘democratization of cartography’ – is in this written text considered as a shift of attention from the act of cartography to who makes it, the cartographers. Therefore map-making does not function as a merely two-dimensional outcome but as a nuance of an experience that is individual and collective. Cartographers reveals a map visible through the memory of a community of people who originate from the same place and have lived the same conflict (WWII) while being scattered across several different countries (Italy, France, Scotland). The work Cartographers, a film and series of archival aerial image, makes available the maps of these happenings, which memories are pulled together and suggest a reflection towards a democratic act of cartography making. The aim of this research is opposite to the creation of a cartography newly created by joining points from different journeys, experiences or concepts: in this work as the director of the film I have attempted to make emerge that the cartographers are aware of each other, their map is drawn collectively and everyday, and it does not join different points, but it starts from a single one and it explodes in different directions. The exploration of this work and research was made by attempting to represent what can be felt with the connection they have with the starting point. This is not only a process that looks at a certain community but is a dialogue with the memory of that community of cartographers which aids the understanding of the landscape that we traverse in our daily lives. With their memories, the subjects of the interviews - which I refer to as the Cartographers - leave a transparent but permanent trace that remains fixed in the landscape and makes it what it is today. The role of the artist in this case, is not the one of the ‘creator’ of a certain map, but the one that wipes the dust about to reveal the map of the treasure, and finds a way to show to the public, that the suspended moment of revelation, is the treasure itself.

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Continentino, Blank Thais. « Da tomada à retomada : origem e migração do cinema doméstico brasileiro ». Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010521/document.

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Ce travail de doctorat est consacré au cinéma amateur produit au Brésil entre les années 1920 et 1965. Notre recherche a été développée à partir d'un corpus constitué par des films produits par cinq familles. Dans une première partie, nous revenons sur l'origine et le développent de cette pratique au Brésil en nous basant: l'étude des disputes commerciales qui ont marqué l'arrivée sur le marché des équipements dédiés exclusivement à l'usage amateur; les publications des années 1920 et 1930 consacrées à ce public et sur la récupération du contexte de production des images qui forment notre corpus. Dans cette première partie nous discutons aussi les expressions « film de famille» et «cinéma amateur» en proposant un dialogue avec le théoricien Roger Odin. Dans une deuxième partie, nous suivons l'itinéraire migratoire de ces images jusqu'à leur entrée dans les archives et leur reprise dans les documentaires contemporains. Pour reconstruire ce chemin migratoire nous nous inspirons des méthodes de recherché proposées par l'historienne Sylvie Lindeperg. Cette recherche a pour objectif principal de discuter des procédures de publicisation du cinéma domestique. En suivant le parcours migratoire des images qui forment notre corpus nous affirmons la thèse que les films réalisés dans un contexte familier ne gagne une dimension public et politique que lorsque qu'ils sont soumis à un processus de «montage», un concept que nous travaillerons à partir de la pensée de l'historien de l'art Georges Didi-Huberman
The present doctoral thesis' research object is home movies created in Brazil between years1920 to 1965. This research developped itself into two branches of work and is focused onhome movies produced by five families. In a first branch we explore the origins and laterdevelopment of home-moviemaking since 1920 in Brazil. For such study, we evoke analisyson the commercial dispute that followed the commercial debut of domestic use purposed exclusive equipment, on the propaganda prints from the 1920's and 30's which where destined to amateur film-making public, and also by the understanding of this image production context that constitutes our work's core purpose. In this first part, we also debate expressionssuch as "family film" and "amateur cinema" as an introductive dialogue for the theorist RogerOdin. As a second part of our work, we follow the home movies migratiory path, to theirentry in the cinemathèques and their use in contemporary documental film-making. To retrace this migration course, we inspired on a research method proposed by historian SylvieLindeperg. The present work's main purpose is to discuss the publication procedures ofdomestic films. By understanding the migratory course of the images in our interest, weaffirm the thesis that films made in a family context only gain on a public and political dimention after being submitted to an "montage" process; it is a concept that we develop on the trails of art-historian Didi-Huberman's propositions
O trabalho realizado no âmbito do doutorado tem como objeto de pesquisa filmes domésticosproduzidos no Brasil entre os anos 1920 e 1965. A pesquisa se desenvolveu em duas vertentestendo como foco de estudo um corpus constituído por filmes caseiros produzidos por cincofamílias. Na primeira vertente, nos debruçamos sobre a origem e o desenvolvimento daprática do cinema doméstico a partir dos anos 1920, no Brasil. Para esse estudo nos baseamosna análise das disputas comerciais que marcaram a entrada no mercado dos equipamentosvoltados exclusivamente para uso caseiro; nas publicações dos anos 1920 e 1930 dirigidas aopúblico amador e na recuperação do contexto de produção das imagens que formam nossocorpus. Nessa primeira etapa problematizamos também as expressões “filme de família” e“cinema amador” propondo um diálogo com o teórico Roger Odin, responsável pelainstitucionalização desse campo de estudos na França. Na segunda vertente, acompanhamos opercurso migratório dos filmes domésticos, seu ingresso nas cinematecas e sua retomada emdocumentários contemporâneos. Interrogamos as estratégias empregadas na incorporação deregistros familiares em centros de preservação de documentos audiovisuais e os diferentesgestos de reapropriação e ressignificação por parte de artistas que os retomaram em suasobras. Para rescontruir esse caminho migratório nos inspiramos no método de pesquisapromovidos pela historiadora Sylvie Lindeperg, que nos últimos dez anos vem realizando umestudo em torno a migração das imagens da Segunda Guerra Mundial. O presente trabalhotem como objetivo principal discutir os procedimentos de publicização dos filmes domésticos.Seguindo o caminho migratório das imagens que constituem nosso corpus afirmamos a tesede que os filmes realizados dentro do contexto familiar apenas ganham uma dimensão públicae política quando submetidos a um processo de “montagem”, conceito que trabalhamos apartir das proposições do historiador da arte Georges Didi-Huberman

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Visser, Dominique. « Secret city : creating a living urban landscape in Pretoria’s CBD ». Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/31646.

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This dissertation explores the potential of new public landscapes developed in small scale lost, or latent spaces within the urban fabric of Pretoria, in order to change the CBD into a living city that encourages urban regeneration through tactical intervention. The urban voids of Pretoria will be mapped and a site developed using a series of tactical interventions. The exploration of current pop-up trends and guerilla urbanism as a vehicle for urban renewal provides the basis for the phasing process. C13/4/48
Dissertation ML(Prof)--University of Pretoria, 2012.
Architecture
ML(Prof)
Unrestricted

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Bravo, Nestor Fernando. « Filming Theater : The Audiovisual Documentation as a Substitute of the Performance ». BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/887.

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Theatre is not a thermometer of society; it is the fever. The archive is the aftermath that recalls that fever. In this thesis I theorize about the status of audiovisual documentation, its functionality, and its ontological relation with the performance. I argue that the film of a performance does not constitute evidence per se, but it acquires such status through the concurrence of other documents and archival artifacts existentially related to the theatrical production. I also propose that the audiovisual document becomes a substitute for the performance when it has disappeared from the historical world, becoming the new referent for other documents that also speak of the original performance. In the body of my thesis I introduce the trope of the Model Performance (MP), defined as the epitome of all the shows performed throughout the cycle of a theatrical production, in order to problematize the assumed stable nature of the performance as rather an evolvable entity impossible to document in its whole process. The MP, as a construct, allows me to formulate five orientations the archivist could take into account when deciding which, among the successive shows a production performs, should be audiovisually documented. It is through all these ruminations that finally I arrive to the conclusion of creating a holistic archival model using the new digital technologies, that I think are the best present media to recall and to assess the fever.

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Brüllman, Claire Bonney. « Thérèse Bonney : the architectural photographs / ». Online version, 1995. http://bibpurl.oclc.org/web/33468.

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Hansson, Nilson Leo. « Inevitable Algorimages : The Necropolitical Infrastructure of YouTube's Digital Dispositif ». Thesis, Stockholms universitet, Institutionen för mediestudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169547.

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This thesis explores the relation between technology and the social, how they determine and naturalize each other, by examining YouTube's socio-technical infrastructure. YouTube is theorized as a dispositif that produces regimes of knowledge, power and subjectification within "control societies" characterized by an informational mode of production. Utilizing a media archaeological and materialist, critical theoretical approach, I analyze YouTube's database, interface, users, algorithms and protocols alongside economic factors, media, advertising and intellectual property laws, as technical and social forces of production in which power relations arise. I find that YouTube incites users to make themselves visible through information inputs, processed by database algorithms to produce outputs as inevitable representations of user actions. On the interface, this is translated as a sequence of algorimages, defined by what is "up next", in accordance with an information and "attention economy" extracting revenue by capturing and commodifying users' attention into hierarchies of value. I conclude that algorimages, whether of cats or political violence, are made homogeneous by the execution of an algorithmic command of continual update, propagating them through their destruction as necropower in a necropolitical regime of visibility, producing YouTube as an "ecology of finitude" and control societies as an inevitable, "third nature".

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Forbin, Guillaume. « Flicker and unsteadiness compensation for archived film sequences ». Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/2094/.

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Podlesnigg, Clara. « Preserving Life and Resurrecting the Dead : Toward a Theory of the Biodoc ». Thesis, Stockholms universitet, Filmvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145527.

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Every life tells a story. Film has proven to be a worthwhile medium in which individual lives can be told and thereby will be remembered. In recent years biographical documentaries telling significant life-stories, such as Amy (Asif Kapadia 2015), Kurt Cobain: Montage of Heck (Brett Morgen, 2015) and Senna (Asif Kapadia, 2010) have taken over our screens. While their narrative style often alludes to common compositions of the fictional biopic, their foundation on indexical sound and imagery makes them differ radically. In this thesis theoretical implications on how to approach and understand biographical documentary within the lager scope of biographical filmmaking are discussed. Subsequently the term biodoc is suggested. It implies a close relation to the biopic without compromising documentary film's autonomy compared to fiction film. Furthermore, this thesis sets out to move toward a theory of the biodoc. By putting together a catalog of key aspects and elements common for the biodoc and discussing them in close relation to contemporary examples of the genre, this thesis provides a first theorization of a diverse and growing phenomenon in contemporary film culture.

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Jiang, Tianyu. « “Frankenstein Complex” in the Realm of Digital Humanities : Data Mining Classic Horror Cinema via Media History Digital Library (MHDL) ». Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169638.

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This thesis addresses the complexity of digitalization and humanities research practices, with a specific focus on digital archives and film history research. I propose the term “Frankenstein Complex” to highlight and contextualize the epistemological collision and empirical challenges humanities scholars encounter when utilizing digital resources with digital methods. A particular aim of this thesis is to scrutinize digital archiving practices when using the Media History Digital Library (MHDL) as a case for a themed meta-inquiry on the preservation of and access to classic horror cinema in this particular digital venue. The project found conventional research methods, such as the close reading of classical cinema history, to be limiting. Instead, the project tried out a distant reading technique throughout the meta-inquiry to better interrogate with the massive volume of data generated by MHDL. Besides a general reassessment of debates in the digital humanities and themes relating to horror film culture, this thesis strives for a reflection on classic horror spectatorship through the lens of sexual identity, inspired by Sara Ahmed’s perspective on queer phenomenology. This original reading of horror history is facilitated by an empirical study of the digital corpus at hand, which in turn gives insights into the entangled relation between subjective identities and the appointed research contexts.

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Ingravalle, Grazia. « Curating film history : film museums and archives in the age of new media ». Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16894.

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As analogue film approaches obsolescence and new modes of engaging with moving images through digital media displace traditional cinema-going practices, film archives and museums acquire increasing prominence in the cultural scene. These institutions preserve audiovisual works, apparatuses and techniques from the past, exhibiting them as artefacts and records of a cinematic time before the "digital turn." While media and art scholars have addressed the appearance of film, video and digital media artworks in the contemporary art museum, insufficient attention has been dedicated to film museums as sites of moving-image exhibition and historical mediation. This study explores the work of film archivists and curators, with particular attention to the exhibition of early and silent films through different media, institutional settings and historical narratives, shaping contemporary audience's interpretation. This research examines three institutions-the EYE Filmmuseum (EYE) in Amsterdam, the George Eastman Museum (GEM) in Rochester, NY and the National Fairground Archive (NFA) in Sheffield (UK)-that have recently experimented with innovative film exhibition practices, advancing compelling new models of film curatorship. Through archival research, historical analysis and interviews with curators, this study focuses not just on present curatorial work at these archives, but also on their institutional histories and shifting understanding of moving-image historicity. The EYE, the GEM and the NFA represent three alternative curatorial strategies, respectively exhibiting early and silent films through practices of "crowd-curatorship," "fine art curatorship" and "modern cine-variety pastiche," mediating between these archival records and new media cultures. The present research advances a double contribution. On one hand, it proposes a more refined theoretical framework to understand film curatorship within the context of contemporary film historiographical debates. On the other, it provides film museums with a critical analysis of alternative exhibition strategies, highlighting the cultural politics at play within the historical interpretation and exhibition of archival films.

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Herrera, Aliosha. « Histoire du cinéma thaï de 1945 à 1970 : l'ère des fictions populaires en 16mm ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA128.

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Les années 1950 et 1960 apparaissent comme deux décennies d’intense effervescence dans le champ du cinéma thaï. L’adoption, à l’issue de la Seconde Guerre mondiale, du format 16mm par une nouvelle génération de cinéastes donna lieu à l’essor d’une production cinématographique très populaire dans le royaume. Alors que les comédies musicales réalisées par les fondateurs pionniers de la compagnie Phaphayon Siang Si Krung jusqu’en 1941 semblaient promettre la pérenne hégémonie d’un véritable « Hollywood du Siam », ces fictions joyeusement rhapsodiques, filmées avec des moyens de fortune et accompagnées en direct par la légendaire faconde de doubleurs professionnels, rencontrèrent un vaste public de Bangkok aux plus lointains villages de province, dans le cadre de projections en prolongement direct avec les spectacles mixtes d’antan. La disparition accidentelle, le 8 octobre 1970, de l’acteur Mit Chaibancha au cours du tournage d’Insi thong [« L’aigle d’or »] mit cependant un brusque terme à cette expérience, singulièrement tardive, de cinéma oral. La récente constitution d’un fonds d’archives à la Cinémathèque thaï a permis la mise à jour de riches vestiges de cette bien nommée « ère du 16mm ». Cette recherche se propose comme une première tentative historiographique pour exhumer ce patrimoine visuel, à la fois ancré dans la tradition dramatique siamoise et apparu dans le contexte d’une dictature militaire placée sous la complexe influence de son allié américain en ces années de Guerre Froide
The 1950s and 1960s appear as two decades of intense effervescence in the field of Thai cinema. In the immediate aftermath of the Second World War, the adoption of the 16mm format by a new generation of filmmakers gave rise to a very popular cinematic production in the kingdom. Whereas the musicals directed by the pioneer founders of the Phaphayon Siang Si Krung company until 1941 seemed to promise the perennial hegemony of a real ‘Hollywood of Siam’, these joyously rhapsodic fictions, filmed with makeshift means and accompanied live by the legendary loquaciousness of professional dubbers, encountered a broad public from Bangkok to the most remote provincial villages, within a screening framework stemming directly from earlier mixed shows. Nevertheless, the accidental disappearance of the actor Mit Chaibancha on the 8th of October 1970, during the shooting of Insi thong [« The golden eagle »], put an abrupt end to this singularly belated experience of oral cinema. The recent composition of an archival fund at the Thai Film Archive permitted the bringing to light of rich vestiges from this well-named ‘16mm era’. This research is a first historiographical attempt to exhume this visual patrimony, both embedded in the Siamese dramatic tradition and generated in the context of a military dictatorship that came under the complexe influence of its American ally during these Cold War years

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Goldsmith, Nestor Bravo. « Filming theater : the audiovisual documentation as a substitute of the performance / ». Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1795.pdf.

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Garrett, Christine Jakeman Robert J. « Genealogical Research, Ancestry.com, and Archives ». Auburn, Ala., 2009. http://hdl.handle.net/10415/2014.

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Bentley, James E. III. « Looking Back : An Examination of Family Archives ». Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.

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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.

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Schulte, Strathaus Stefanie. « What has happened to this film ? » Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172761.

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Mit seinen 8.000 Titeln spiegelt das Archiv des Arsenal – Institut für Film und Videokunst ein halbes Jahrhundert internationaler Filmkunst jenseits des Mainstreams anhand der lebendigen Geschichte einer Berliner Institution, die in ihrer Struktur weltweit einzigartig ist. In der Sammlung befinden sich Filme aus aller Welt, aller Genres, Längen und Formate. Das Arsenal versteht seine Sammlung als „Living Archive“ – ein Archiv, das nur in Bezug auf den Betrachter Bedeutung haben kann. Für das hier vorgestellte und kontextualisierte Projekt wurden über einen Projektzeitraum von zwei Jahren (2011–2013) 37 Künstler, Filmschaffende, Performer, Musiker, Kuratoren und Wissenschaftler, sowie vier Stipendiaten des Goethe-Instituts eingeladen, Projekte aus dem Archivbestand des Arsenal zu entwickeln. In der Umsetzung des Projekts wurde deutlich, dass Themen wie Forschung, Sicherung und Erhalt untrennbar mit heutigen Fragen zu Ausstellungspraxis, Kunstproduktion und Gegenwartspolitik verbunden sind.

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Frappat, Marie. « L'invention de la restauration des films ». Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA149.

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Le terme de « restauration » n’a pas toujours été en usage dans le domaine du cinéma. Cette thèse de doctorat retrace la généalogie de la notion de restauration et l’histoire des pratiques d’intervention sur les films anciens, depuis les premières campagnes de réhabilitation critique et historiographique dans les années 1920 jusqu’à la généralisation du terme dans les années 1980 autour des quatre-vingt-dix ans du cinéma. Ces pratiques de réparation, de rénovation, de tirage, de sauvegarde, de compilation, de réédition, de sonorisation, de reconstitution, de reconstruction sont partagées entre une quête de l’original et une nécessaire adaptation à un nouveau contexte, culturel et technologique. Locales comme internationales, elles se trouvent au croisement de nombreux discours, institutionnel, politique, critique, et mobilisent différents acteurs, techniciens, archivistes, conservateurs, producteurs, distributeurs, réalisateurs, historiens et bientôt restaurateurs de films. Techniques autant qu’éditoriales, elles sont au cœur de l’histoire du cinéma et de sa matière. Dernière étape du processus de légitimation du septième art, la restauration des films crée des œuvres qui visent à être protégées ainsi que réinterprétées dans leur matérialité pour être présentées devant un nouveau public
The word “restoration” has not always been applied to film. This Ph.D. traces back the origins of that notion and the evolution of curatorial practices dealing with old films, starting with the first critic and historiographic rehabilitation campaigns in the 1920ies and ending when the word “restoration” is commonly accepted in the 1980ies at the time of the celebration of the ninetieth birthday of cinema. These practices – repairing, renovating, duplicating, preserving, compiling, reediting, creating sound versions, reconstituting, reconstructing – rely on two contradictory urges: a quest for the original, and a necessary adaptation to a new cultural and technological background. Both local and international, these practices stand at the crossing between numerous types of discourses (such as institutional, political, critical discourses) and they are due to different kinds of people (technicians, archivists, curators, producers, distributors, film directors, historians, and in later days film restorers). Technical as well as editorial, these practices are at the heart of film history. Film restoration may be the last step in the legitimizing process of cinema as an art form. It produces works of art that aim to be protected and materially reinterpreted so that they can be presented to a new audience

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Mayer, Oliver [Verfasser], et A. [Akademischer Betreuer] Böhn. « Chris Marker und das audiovisuelle Archiv / Oliver Mayer. Betreuer : A. Böhn ». Karlsruhe : KIT-Bibliothek, 2016. http://d-nb.info/1112224912/34.

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Schulte, Strathaus Stefanie. « What has happened to this film ? » map - media archive performance ; 2014/5 (E-Journal, URL : http://www.perfomap.de, ISSN 2191-0901), 2014. https://slub.qucosa.de/id/qucosa%3A7330.

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Mit seinen 8.000 Titeln spiegelt das Archiv des Arsenal – Institut für Film und Videokunst ein halbes Jahrhundert internationaler Filmkunst jenseits des Mainstreams anhand der lebendigen Geschichte einer Berliner Institution, die in ihrer Struktur weltweit einzigartig ist. In der Sammlung befinden sich Filme aus aller Welt, aller Genres, Längen und Formate. Das Arsenal versteht seine Sammlung als „Living Archive“ – ein Archiv, das nur in Bezug auf den Betrachter Bedeutung haben kann. Für das hier vorgestellte und kontextualisierte Projekt wurden über einen Projektzeitraum von zwei Jahren (2011–2013) 37 Künstler, Filmschaffende, Performer, Musiker, Kuratoren und Wissenschaftler, sowie vier Stipendiaten des Goethe-Instituts eingeladen, Projekte aus dem Archivbestand des Arsenal zu entwickeln. In der Umsetzung des Projekts wurde deutlich, dass Themen wie Forschung, Sicherung und Erhalt untrennbar mit heutigen Fragen zu Ausstellungspraxis, Kunstproduktion und Gegenwartspolitik verbunden sind.

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Arteaga, Loïc. « Du non-film inexploré aux films à restaurer : l'apport des documents d'archives non-film dans les processus de restauration de films muets ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC291.

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Malgré sa récente remise en lumière, le cinéma muet est toujours menacé de disparition, du fait notamment de la décomposition des supports nitrate avec le temps. On estime que 80 pour cent de la production cinématographique mondiale de 1895 à 1929 serait de nos jours perdue, rendant d’autant plus cruciale la restauration des films muets subsistants. Malheureusement, un siècle après, ces films se présentent souvent dans des versions incomplètes et parfois différentes de celles d’origine. Ce travail de recherche s’inscrit dans ce cadre et démontre plus spécifiquement l’apport fondamental des documents d’archives non-film d’époque dans les processus de restauration de films muets. Ces documents, qui constituent désormais les seules sources attestant de la forme d’origine et complète de ces œuvres, permettent notamment, par comparaison avec les films incomplets, l’identification des versions conservées et la reconstruction des trames narratives. Cette réflexion théorique sur les principes directeurs de la restauration de films [I] est ensuite mise en pratique au travers de notre analyse des éléments de restauration du fonds d’archives non-film de la société de production américaine Triangle Film Corporation (1915-1919) conservés par la Cinémathèque française [II] puis, grâce à l’exploitation de ces éléments, au travers de notre contribution aux restaurations des versions françaises du western The Desert Man (La Cité du désespoir, William S. Hart, 1917) et du drame historique The Despoiler (Châtiment, Reginald Barker, 1915) [III] ; deux films Triangle jusqu’alors considérés comme perdus qui constituent les seuls éléments filmiques localisés à ce jour dans le monde
Despite its recent re-lighting, silent cinema is still threatened by disappearance, notably because of nitrate film decomposition over time. It is estimated that 80 per cent of the world cinema production from 1895 to 1929 is currently lost, which makes silent film restoration even more crucial for those that still exist. Unfortunately, a century later, those films often remain in incomplete versions, sometimes even different from the original ones. This research work falls within this scope and specifically demonstrates the essential input of non-film archival documents of the time in silent film restoration processes. Those documents from now on represent the only sources attesting the original and complete form of those films. They notably allow, by comparing them with the incomplete films, both the identification of the preserved versions and the reconstruction of the narrative spine. This theoretical reflection on film restoration guiding principles [I] is then put into practice first through our examination of the restoration elements of the non-film archive collection of the American production company Triangle Film Corporation (1915-1919) preserved by the Cinémathèque française [II] then, based on the exploitation of these elements, through our contribution to the restorations of the French versions of the western The Desert Man (La Cité du désespoir, William S. Hart, 1917) and the historical drama The Despoiler (Châtiment, Reginald Barker, 1915) [III] ; two Triangle films so far presumed lost that constitute the only film elements located in the world until now

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Holtmeier, Matthew. « Images, Maps, Movies : Bioregional Imaginaries of Cascadia from the Archives ». Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5445.

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Souza, Carlos Roberto Rodrigues de. « A cinemateca brasileira e a preservação de filmes no Brasil ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-26102010-104955/.

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O tema deste trabalho é a preservação de filmes e seu foco é a Cinemateca Brasileira. Na introdução aborda-se a bibliografia existente sobre arquivos de filmes e preservação, definem-se conceitos e explica-se a questão da narrativa adotada. A primeira parte é dedicada à investigação das relações entre arquivos de filmes e Estado, com seu conseqüente reflexo na questão da autonomia de gestão dos arquivos sobre seus acervos. A partir das quatro instituições fundadoras da Fédération Internationale des Archives du Film propõe-se um quadro de categorias para os arquivos de filmes e seus estatutos jurídicos. A questão da autonomia é investigada em países do Leste europeu e experimenta-se a aplicação do quadro de categorias proposto aos arquivos da América Latina. A maior parte do trabalho é a segunda, que narra a história da Cinemateca Brasileira desde suas origens como Clube de Cinema de São Paulo, sua anexação ao Museu de Arte Moderna, a mudança de personalidade jurídica para fundação e sua transformação em órgão vinculado ao poder federal. As realizações e os obstáculos encontrados pela instituição para a preservação do patrimônio nacional de imagens em movimento são descritos e comentados desde aquelas origens até o ano de 2006, quando a Cinemateca Brasileira abriga o 62º Congresso anual da Fiaf. A conclusão questiona a tutela jurídica que a Cinemateca Brasileira se atribui em relação à preservação do patrimônio de imagens em movimento no Brasil.
The subject of this work is film preservation and its focus is on the Cinemateca Brasileira. The introduction approaches the existing bibliography about film archives and preservation, defines concepts and explains the type of narrative that will be adopted. Part I is aimed at the investigation of the relations between film archives and the State, with its subsequent reflex on the question of management autonomy of the archives on their own collections. By analyzing the four institutions that founded the Fédération Internationale des Archives du Film, a framework of categories for the film archives and their legal statutes is proposed. The autonomy question is investigated in East European countries and the categories proposed before are applied to Latin America. Part II is the most extensive: the history of the Cinemateca Brasileira is narrated, from its origins as the Clube de Cinema de São Paulo, its attachment to the Museum of Modern Art, the change of juridical figure into foundation and its transformation into a federal organ. The accomplishments and the difficulties met by the preservation of the national moving images heritage are described and commented from those origins until the year 2006, when the Cinemateca Brasileira held the 62nd Fiaf Annual Congress. The concluding remarks question the legal tutelage that the Cinemateca Brasileira attributes itself regarding the preservation of the moving images heritage in Brazil.

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Janečková, Veronika. « Dokumentaristické využití archivního rod inného filmu ». Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156097.

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In this thesis I explore more deeply the topic from my bachelor diploma thesis ?Archiving Family Film?. Through an analysis of family film from the thirties to the present day, I want to draw attention to this distinctive form of amateur filmmaking which is overlooked today. Above all I want to focus on the filmmakers Peter Forgács and Jan Šikl. I explore their different approaches and points of view, and their use of archive family footage in their documentary works ?Private Hungary? and ?Private Century?. By comparing films from these documentary cycles, I point out what makes the works of these two directors unique. I also elaborate on my work with family archive footage in my film ?Sestření? (?Sistering? - 2nd year exercise ? authorial portrait), and I reflect on the approach that I adopted when shooting my bachelor?s diploma film, ?Roots of Relationship or How Granddaughter and Grandmother couldn?t get the Turnip out.? I explain my use of methods taken from family footage in my work as a documentary filmmaker, and discuss my personal experience and achievements in this field.

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Sosa, Cecilia. « Performance, kinship and archives : queering acts of mourning in the aftermath of Argentina's 1976-1983 dictatorship ». Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8629.

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In the aftermath of Argentina’s last dictatorship (1976-1983), the organisations created by the relatives of the disappeared deployed the trope of a ‘wounded family’. The unspoken rule was that only those related by blood to the missing were entitled to ask for justice. This thesis queers this biological tradition. Drawing from performance studies and queer theory, it develops an alternative framework for understanding the transmission of trauma beyond bloodline inscriptions. It shows how grief brought into light an idea of community that exceeds traditional family ties. In order to demonstrate this, the thesis builds an archive of non-normative acts of mourning. This archive crosses different generations. The introduction utilises the Mothers of Plaza de Mayo’s statement ‘Our Children gave birth to us’ as the departure for a non-biological linage. Chapter 1 shows how the black humour that informs H.I.J.O.S., the association created by the children of the disappeared, works as a form of affective reparation in the face of loss. Chapter 2 proposes a dialogue between Los Rubios (Albertina Carri, 2003), M (Nicolás Prividera, 2007) and La mujer sin cabeza (Lucrecia Martel, 2008) to show how these films manage to displace the normative cult of the victim. Chapter 3 conceives the cooking sessions that take place at ESMA former detention camp as a form of conversion of this site of death. Chapter 4 explores Lola Arias’ Mi vida después (2009) as an intergenerational artefact for the transmission of trauma on- and off-stage. Chapter 5 considers Félix Bruzzone’s novella Los topos (2008) as the announcement of a new language of kinship. In conclusion, the thesis argues that the aftermath of violence not only produced pain but also new forms of pleasure. Ultimately, it sheds light on a new sense of ‘being together’ that has emerged in the wake of loss.

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