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1
Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos". Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.
Testo completoAbstract (sommario):
En un món social cada cop més nodrit per les interconnexions culturals, el cinema - expressió artística que és filla inequívoca del seu temps- es conforma des dels seus inicis a través de la integració i la interacció de formes expressives diverses i allunyades. Els darrers tres lustres han vist un impuls en la referida tendència, promoguda per la globalització de la indústria fílmica i, en bona mesura també, pel creixement (i/o la voluntat exportadora) dels cinemes asiàtics. La influencia d'aquests cines en el mainstream internacional (ja sigui el de l'entreteniment o el d'art i assaig) és cada cop més patent, i s'aventuren noves formes d'expressió cinematogràfica i d’anàlisi. El present treball vol reflexionar sobre la naturalesa d'aquests intercanvis, tot observant quines idees i practiques es posen en joc en la producció de films de caràcter transnacional. Conceptes com 'interculturalitat', 'cinema nacional', 'autoria' o 'orientalisme' en són els protagonistes, juntament amb l'estudi d'un cas: la influencia del cinema japonès en !'obra de Jim Jarmusch.En un mundo social cada vez más nutrido por las interconexiones culturales, el cine expresión artística que es hija inequívoca de su tiempo- se conforma desde sus inicios a través de la integración y la interacción de formas expresivas diversas y alejadas. Los últimos tres lustros han visto un impulso en la referida tendencia, promovida por la globalización de la industria fílmica y, en buena medida también, por el crecimiento (y/o la voluntad exportadora) de los cines asiáticos. La influencia de estos cines en el mainstream internacional (ya sea el del entretenimiento o el de arte y ensayo) es cada vez más patente, y se aventuran nuevas formas de expresión cinematográfica y de análisis. El presente trabajo quiere reflexionar sobre la naturaleza de estos intercambios, observando qué ideas y prácticas se ponen en juego en la producción de filmes de carácter transnacional. Conceptos como 'interculturalidad', 'cine nacional', 'autoría' u 'orientalismo' son los protagonistas, junto con el estudio de un caso: la influencia del cine japonés en la obra de Jim Jarmusch.
In a social world increasingly nourished by cultural interconnections, film -an artistic expression that is an unequivocal output of its time- has been shaped from its beginnings through the integration and interaction of various and distant forms of expression. The last fifteen years have seen a boost in the aforementioned trend, promoted by the globalization of the film industry and, to some extent also by the growth (and / or will to export) of Asian cinemas. The influence of these cinemas in the interntional mainstream (either for entertainment or arthouse) is increasingly evident, and puts forward new forms of cinematic expression and analysis. The present work reflects on the nature of these exchanges, by observing which ideas and practices come into play in producing films with a transnational personality. Concepts such as interculturality, national cinema, authorship or orientalism are the protagonists, along with a case study: the influence of Japanese cinema in the work of Jim Jarmusch.
2
Kapadia, Parita. "Independent Film Futures Mixa | Design for Democratic Cinema". Research Showcase @ CMU, 2013. http://repository.cmu.edu/theses/46.
Testo completoAbstract (sommario):
Abstract. Making and self-distributing high quality films have never been as affordable as they are today. Even films shot on cellphones are celebrated at festivals around the world. This is really empowering for storytellers who don’t want to submit to a Hollywood struggle or don’t have a big budget for making their film. Filmmaking is now a democratic arena. Even previously silent audiences are now becoming noisy participants in the films that they consume.
But mere accessibility to the resources for production doesn’t entirely satisfy passionate creators who want to reach out to audiences far and wide. The Internet’s low entry barriers make room for everyone, resulting in a cluttered environment, where the effective discovery of applicable content becomes important. Each member of the networked audience affects the discoverability of content floating around on the web for others, within their own capacity. The audience’s emerging role as re-distributers, along with easy tools and resources that allow them to partake in cinema and popular culture, influences the content and format in which cinema is presented on the web.
These premises offered an opportunity to introduce affordances that encourage new degrees of participation. With a focus on the emerging activities of appropriation, a system that honors content creators by making attribution consistent and codified is proposed in this project. The establishment of a culture of crediting welcomes the arrival of a future indie cinema, which is integral to the social nature of the Internet.
3
Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory". Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.
Testo completoAbstract (sommario):
Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
4
Mak, Monica. "Digital cinematic technology and the democratization of independent cinema". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.
Testo completoAbstract (sommario):
This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.
5
Tzioumakis, Yannis. "The cinema of David Mamet : independent filmmaking in Hollywood". Thesis, Sheffield Hallam University, 2004. http://shura.shu.ac.uk/20466/.
Testo completoAbstract (sommario):
This thesis examines the cinema of David Mamet with particular reference to the five films he made between 1987 and 1997. Its objectives are: to explore Mamet's distinct approach to filmmaking; to analyse the ways in which this approach shaped the formal organisation of his films; and to account for the specific aesthetic effects produced. The central argument advanced is that Mamet's filmmaking practice, which has, to a large extent, been influenced by practices he adopted during his long standing service to American theatre, is markedly different from dominant models of filmmaking in contemporary US cinema. As a result, his films have consistently demonstrated evidence of an idiosyncratic visual style, which has attracted considerable - mostly negative - criticism. This thesis also considers a number of institutional parameters that have impacted on Mamet's cinema. Particular emphasis has been placed on the role of independent distributors such as Orion Pictures and The Samuel Goldwyn Company who allowed the filmmaker to maintain his distinct aesthetic vision, despite his lack of success at the US box-office. Mamet's close association with the institutional apparatus of American Independent Cinema is examined throughout the thesis. My approach to Mamet's cinema takes place within a number of critical contexts that Film Studies uses to discuss both individual films and the work of a filmmaker as a whole. These contexts include: the classical/post-classical Hollywood cinema debate; auteur criticism; performance studies; film adaptation studies; and genre criticism. I use these frameworks to examine particular aspects of Mamet's cinema and also to establish fresh critical perspectives which will enhance our understanding of some of his films. One such perspective involves the proposal that Mamet utilises the generic form of the 'con-artist film,' a film genre previously unexplored within genre studies. This thesis challenges some of the established critical assumptions about David Mamet's cinema and bestows upon it the attention it deserves.
6
Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.
Testo completoAbstract (sommario):
In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).
7
Mitchell, Stephen Mark. "Deconstructing national identity : character, place, and contemporary American independent cinema". Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53462/.
Testo completoAbstract (sommario):
This thesis achieves a deconstructive interrogation of American national identity by analysing its representation in contemporary independent cinema. Drawing upon the poststructuralist work of Jacques Derrida (and limited applications of his thought to film scholarship), this project theorises a rigorous (but non-programmatic) model for conducting deconstructive readings of cinematic texts. Engaging with a corpus of ostensibly independent films, case-study analyses of American identity narratives are used to theorise and enact a fruitful process of Derridean cinematic and cultural interpretation. In undertaking this broad theoretical objective, I intervene within a range of specific filmic and socio-political debates. Analysing texts drawn from within prevailing independent film definitions, this project undertakes a deconstructive re-inscription of this prominent cinematic category. Destabilising its conventional designation as Hollywood’s antonymic “other,” the ontological solidity of independent film is fatally compromised, opening up its constituent texts to a greater range of interpretative gestures. Furthermore, in addressing textual representations of national identity, I elucidate a discursive area largely unexplored in existing independent film scholarship. Characterising case-study analyses as overtly deconstructive, this thesis also destabilises structural orthodoxies that orient American identity discourses around dichotomous concepts of character and place. Thus, studying representations of prominent cultural narratives (individualism, the nuclear family, the small-town, and the wilderness), this thesis uncovers and then dismantles their restrictive metaphysical foundations. Specifically, drawing attention to discursive slippages and paradoxes that inhabit these forms of cultural narration, textual readings problematize their self-coherence and ontological closure. Relating these cultural analyses to popular and academic discourses of national identity, this thesis also expands the reach of Derridean theory into a range of other disciplines, such as American studies. Ultimately, this thesis’ multifaceted research objectives open up American identity discourses to an unfixed freeplay of différance, laying the foundations for a liberatory intervention into oppositional American cultural debates.
8
Vasconcelos-Oliveira, Maria Carolina. "\'Novíssimo\' cinema brasileiro: práticas, representações e circuitos de independência". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-19032015-172224/.
Testo completoAbstract (sommario):
Esta tese pretende somar esforços a outras pesquisas que se dedicam à compreensão da organização social da produção de bens/serviços culturais e artísticos. Tomando como objeto a produção cinematográfica que vem sendo caracterizada como o \"novíssimo\" cinema brasileiro (uma produção de cinema feita por jovens realizadores, com baixos orçamentos e em estruturas organizacionais menos especializadas e hierárquicas, que começa a se organizar no início dos anos 2000 e passa a ganhar reconhecimento público no país no fim da primeira década do século XXI), o trabalho se desenvolve a partir de dois objetivos. O primeiro, compreender o \"novíssimo\" cinema a partir do posicionamento de seus realizadores dentro do grande campo do cinema brasileiro, que configura um conjunto específico de práticas e representações. O segundo objetivo é trazer elementos para contribuir para uma discussão sobre produções culturais/artísticas do tipo independente a partir da observação do caso do cinema, buscamos construir uma categoria de independência que pode ser utilizada para a compreensão de outros contextos de produção simbólicaThis thesis aims to contribute to the comprehension of the social organization of the production of cultural and artistic goods/services. Considering as a target the cinematographic production that has been characterized as the \"novíssimo cinema brasileiro\" (\"brand new\" Brazilian cinema, in reference to Brazilian 1960\'s \"new wave\", meaning a production made by young filmmakers with low budgets and less specialized and hierarchical organizational structures, which begins to get organized in early 2000 and gain public national recognition by the end of 21st century\'s first decade), this thesis is developed based on two goals. The first is to comprehend \"novíssimo\" cinema taking into account the positioning the filmmakers occupy in the larger Brazilian cinema field, which triggers a set of specific practices and representations. The second goal is to bring elements that contribute to the discussion of cultural/artistic productions known as \'independent\' from the observation of the cinema case, we seek to build a category of independence that can be used for understanding other contexts of symbolic production
9
Lim, Michael Kho. "Pinoy Indie, Inc. : the cultural economy of distribution and Philippine independent cinema". Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/96243/.
Testo completoAbstract (sommario):
This thesis investigates the cultural economy of film distribution set against the backdrop of Philippine independent cinema. Considered as the business centre of filmmaking, film distribution is typically studied from an economic perspective and traditionally falls outside the remit of film studies. However, the role that economics play in filmmaking cannot be regarded as an exclusive object or subject in the field of business and economics and not of the arts, since film is both a cultural good and economic commodity. As such, this thesis offers a more balanced viewpoint by taking on a humanities perspective in analysing and understanding the complex interplay of culture and economics as applied to Philippine cinema. The project also provides an Asian context to a generally western-dominated approach to the study of film distribution and thereby contributes to the (now) growing literature on distribution studies situated in the larger area of film studies. This thesis employs in-depth interview and case study analysis in addressing the central issue of how the independent sector struggles to access the various film distribution platforms in an attempt to sustain itself. The first chapter positions my research in the field, surveys existing scholarship on independent cinema and film distribution, and sets up the theoretical grounding of this thesis on the cultural economy framework. The second chapter fleshes out the notion of independence in filmmaking and contextualises the study by outlining the historical development of Philippine independent cinema. The third chapter analyses the interaction between mainstream and independent cinema and the current shifting movements happening between the two sectors. The next four chapters examine the film distribution and exhibition practices in the Philippines and how these affect the relationship of the mainstream and independent sectors and address the sustainability issue of the independents. Chapter Four lays out the conceptual framework of film distribution and exhibition as intermediary spaces and maps out a historical landscape of film distribution and exhibition in the Philippines. This is followed by an overview of the film distribution economy spectrum, namely, formal, semi-formal, and informal. Chapter Five explores the formality of the traditional platforms of theatrical and non-theatrical distribution method, while Chapter Six discusses the formality of the emerging distribution and exhibition platforms that utilise new media technologies. Both chapters present the challenges that independent filmmakers face in passing through the layers of gatekeepers in order to bring the film to its audience. Chapter Seven sets out a clearer definition of the semi-formal distribution economy and cites different self-distribution methods to illustrate and support my claim. This chapter also looks into the informal distribution method of piracy and its constructive effects on independent filmmaking. It also explains how technology is changing the role of the audience from being a passive consumer to an active producer to a dynamic distributor. Lastly, Chapter Eight probes into the identity of the Philippine film industry and the role of the state, their implications on cultural or film policy development, and how these elements impact the overall state of Philippine cinema.
10
Hey, Jessica L. ""Coming out" by numbers". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1189022132.
Testo completo
11
Devasundaram, Ashvin Immanuel. "Creating a new space : India's new wave of urban independent cinema since 2010". Thesis, Heriot-Watt University, 2015. http://hdl.handle.net/10399/3237.
Testo completo
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Melo, Maria Cristina Couto. "Comercialização de filmes independentes e o caso 3 efes". Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/5625.
Testo completoAbstract (sommario):
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The industrial model of filmmaking is structured by dividing the production of a film between three sectors. Production, distribution and exhibition, and the gradual and sequential content offer in the viewports. The distribution and exhibition sectors are responsible for the film commercialization, both work together in order to enable commercial success of production and monetize their own activities. Currently, the distribution activity is exercised by American conglomerates of media, the majors, and by independent distributors that operate on a national scale, usually with smaller films, called niche films. However, the development of new media and the communication media's convergence resulted in a model that proposes the content display on multiple windows and production by niche's demand . This research proposes to discuss and understand the role of the new display windows, potentiated by the convergence of media vehicles, as diffusion of alternative independent audiovisual productions. As an example, it will be discussed the distribution strategy for the movie 3 Efes (Carlos Gerbase, 2007).
O modelo industrial de produção cinematográfica estrutura-se a partir da divisão da realização de um filme entre os setores de produção, distribuição e exibição, e da oferta gradual e sequencial de conteúdos nas janelas de exibição. Os setores de distribuição e exibição são responsáveis pela comercialização do filme, que atuam em conjunto no intuito de possibilitar sucesso comercial das produções e rentabilizar suas próprias atividades. Atualmente a atividade de distribuição é exercida pelos conglomerados de mídia norte-americanos, as majors, e pelas distribuidoras independentes que atuam em escala nacional, em geral com filmes menores, chamados filmes de nicho. Em contrapartida, o desenvolvimento das novas mídias e da convergência dos meios comunicacionais resultou em um modelo que propõe a exibição de conteúdos em múltiplas janelas e produção por demanda de nichos. O presente trabalho propõe a discussão e compreensão do papel das novas janelas de exibição, potencializadas pela convergência dos veículos midiáticos, enquanto alternativas de difusão de conteúdo audiovisual independente. Como exemplo, é discutida a estratégia de distribuição do longa-metragem 3 Efes (Carlos Gerbase, 2007).
13
Sauvage, Célia. ""Déclarations d'indépendance" : perception, discours et définitions du cinéma indépendant américain contemporain". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030154.
Testo completoAbstract (sommario):
Depuis la fin des années 1990, un certain courant du cinéma américain indépendant s'est développé à travers l'instauration d'une nouvelle communauté culturelle (jeune, intellectuelle, 'branchée'), d'où a découlé la constitution d'un nouveau public-niche à l'image de cette communauté ; mais également à travers l'invention d'une nouvelle imagerie, d'une nouvelle esthétique et de nouveaux modes de narration. notre hypothèse de travail est la suivante : le cinéma indépendant américain contemporain est devenu 'à la mode' et se prétend être la seule alternative sincère et indépendante du marché du cinéma plus grand public. il s'est constitué depuis les années 1990 jusqu'à aujourd'hui comme une véritable catégorie culturelle qui affiche son caractère d'opposition à un style commercial dominant. or les films indépendants américains sont devenus des produits culturels, tout autant que les films plus grand public. ce qui fut par exemple étiqueté un temps comme l'esthétique caractéristique des films indépendants américains est également réemployée et réinterprétée par hollywood qui la réintègre dans un style dominant (valorisation d'un effet 'petit budget', d'un style visuel amateur).le caractère indépendant des films n'est donc pas tant économique, industriel (ils sont d'ailleurs pour la plupart financés en partie par des grands studios) ou esthétique mais il est plutôt vécu comme une catégorie culturelle autonome, comme un mode de consommation culturelle (organisé par des stratégies marketing spécifiques)As it became more popular, American independent cinema developed a perceptible label and a commercial industry. It is no longer a peripheral or marginalindustry and instead a dominant cultural sphere. This explains why this contemporary phase of independent cinema is commonly criticised or questioned.This popularisation of independent cinema developed media saturation. Everyone seems to have its own definition, which explains the discursive conflict and contradictory definitions of independent cinema. This independent position has exceeded its industrial and economic status. The new independent model questions agenuine American independent cinema even though the existence of it is assimilated in the auteuriste, promotional, critic and spectatorial discourses. Though,independent cinema represents now a cultural label, a culture of taste, and acommunity of elitist consumers in opposition of Hollywood. It organizes different interpretive strategies and expectations that are shared among authors, audiences,critics and distributors. Independent cinema coheres as a cultural category and nolonger just as a set of industrial or formal or stylistic conventions. It is the product of a judgment that we make about a certain cinema. Independent cinema is a perceptive film category
14
Landay, David A. "Profits, Prestige, and a Little Bit of Sunshine: American Independent Cinema Enters the Mainstream". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/19.
Testo completoAbstract (sommario):
This thesis investigates the recent developments that have occurred in the independent film market after the major Hollywood studios created their own specialty divisions to produce and distribute independent films. Due to the involvement of the major studios, independent films became more mainstream while their various costs were also driven up due to the increased amount of independent films that were released by the studios. The financial crisis of 2008 forced the major studios to contract their production of independent films and this contraction allowed the prices of independent films to return to more stable levels.
15
Sinwell, Sarah E. S. "Fear of a queer cinema danger, sex, and identification in contemporary American independent film /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264324.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Indiana University, Dept. of Communication and Culture, 2007.Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1705. Adviser: Joan Hawkins. "Title from dissertation homepage (viewed Jan. 14, 2008)."
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Ma, Ran, e 马然. "Chinese independent cinema and international film festival network at the age of global image consumption". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.
Testo completo
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Sexton-Finck, Larissa Sexton-Finck Larissa. "Be(coming) reel independent woman : an autoethnographic journey through female subjectivity and agency in contemporary cinema with particular reference to independent scriptwriting practice /". Murdoch University Digital Theses Program, 2009. https://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.
Testo completoAbstract (sommario):
Thesis (Ph.D.)--Murdoch University, 2009.Thesis submitted to the Faculty of Creative Technologies and Media. Includes the screenplay, Float, by Larissa Sexton-Finck. Includes bibliographical references.
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Gruffman, Mathias. "Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema". Thesis, Örebro University, Department of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1555.
Testo completoAbstract (sommario):
This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.
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Jiles, Tara R. "Overcoming the industry driven barriers to the creation of black independent film". Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3600313.
Testo completoAbstract (sommario):
In our society the media has presented itself as an important tool in shaping both the identities of groups and individuals. In film, and possibly more deeply in African American films, the prolonged emotional and multi-sensoral experience heightens this importance. In America, there has been a historical presence of stereotypical characters in Black film and television shows as early as the 1800s. My assertion is that African Americans who are exposed to media images with stereotypical African American characters are affected negatively in psychological and social respects. The impacts include but are not limited to self esteem issues, poor identity development, negative social perceptions from non-Black groups, and a diminishing of confidence in Black capabilities (e.g. professionalism, intelligence etc.). In addition, it is my assertion that African Americans can take control of stereotypical images in the media through the development of independent film projects. There is a hunger for palatable portrayals of African Americans, and the presence or absence of such portrayals is experienced severely by African American viewers. This research will take a historical look at stereotypical images, the difference in content when examining commercial and independent film releases, and the motivations of Black independent filmmakers to change the landscape of Black film.
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au, larissa sextonfinck@uwa edu, e Larissa Claire Sexton-Finck. "Be(com)ing Reel Independent Woman: An Autoethnographic Journey Through Female Subjectivity and Agency in Contemporary Cinema with Particular Reference to Independent Scriptwriting Practice". Murdoch University, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100512.122302.
Testo completoAbstract (sommario):
Women exert only a modicum of production power in 21st century cinema despite its growing accessibility and spectatorship through the developing technologies of the digital era. In 2007, of the top 250 grossing films in Hollywood, only 10% were written, and 6% directed, by women, and just 16% contained leading female protagonists. Why, after the gains of the film feminist movement, is there such a significant gender imbalance in mainstream film, and an imbalance that is only increasing over time? More significantly, what are the possibilities and limitations for reel womans subjectivity and agency, in and on screen, in this male-dominated landscape?
As a female filmmaker in this current climate I conduct an autoethnographical scriptwriting-based investigation into female subjectivity and agency, by writing the feature length screenplay Float, which is both the dramatic experiment and the creative outcome of this research. The exegesis works symbiotically with my scriptwriting journey by outlining the broader contexts surrounding women filmmakers and their female representations.
In this self-reflexive examination, I use an interdisciplinary methodology to unravel the overt and latent sites of resistance for reel woman today on three interdependent levels. These comprise the historical, political and philosophical background to womans treatment both behind, and in front of, the camera; my lived experiences as an emerging writer/director as I write Float; and my representation of the screenplays central female character.
I use the multiple logic of screenplay diegesis to explore the issues that have a bearing on womens ability to be active agents in the world they inhabit, including: the dichotomising of female desire, the influence of familial history, the repression of the mother, the dominance of the male gaze, the disavowal of female specificity, and womens consequent dislocation from their self-determined desire. These obstacles are simultaneously negotiated as I map my process of writing Float and deal with the challenging contexts in which the screenplay was created. In the course of my scriptwriting investigation, film feminist and French poststructuralist paradigms are considered and negotiated as I experiment whether it is possible for female filmmakers, and their female characters, to overcome the seemingly insurmountable odds facing womens actualisation today.
My research brings to light the critical need for more inclusive modes of practice across the film industry, discourse and pedagogy that are cognisant and respectful of reel womens difference, and allow them to explore their own specificity. The thesis argues that it would be advantageous for female filmmakers to challenge their fixed status in phallocentric discourse, and to deconstruct their patriarchal conditioning through engagement with forms of identity and writing resistance that recognise the fluidity of their subjectivity, and the consequent potential for change. I also highlight the importance of an accessible and affirmative feminist cinema pertinent to the 21st century, to integrate feminist ideals into the mainstream, and finally bring reel woman out of the margins.
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Sexton-Finck, Larissa Claire. "Be(com)ing reel independent woman: an autoethnographic journey through female subjectivity and agency in contemporary cinema with particular reference to independent scriptwriting practice". Sexton-Finck, Larissa Claire (2009) Be(com)ing reel independent woman: an autoethnographic journey through female subjectivity and agency in contemporary cinema with particular reference to independent scriptwriting practice. PhD thesis, Murdoch University, 2009. http://researchrepository.murdoch.edu.au/1688/.
Testo completoAbstract (sommario):
Women exert only a modicum of production power in 21st century cinema despite its growing accessibility and spectatorship through the developing technologies of the digital era. In 2007, of the top 250 grossing films in Hollywood, only 10% were written, and 6% directed, by women, and just 16% contained leading female protagonists. Why, after the gains of the film feminist movement, is there such a significant gender imbalance in mainstream film, and an imbalance that is only increasing over time? More significantly, what are the possibilities and limitations for reel woman’s subjectivity and agency, in and on screen, in this male-dominated landscape?
As a female filmmaker in this current climate I conduct an autoethnographical scriptwriting-based investigation into female subjectivity and agency, by writing the feature length screenplay Float, which is both the dramatic experiment and the creative outcome of this research. The exegesis works symbiotically with my scriptwriting journey by outlining the broader contexts surrounding women filmmakers and their female representations.
In this self-reflexive examination, I use an interdisciplinary methodology to unravel the overt and latent sites of resistance for reel woman today on three interdependent levels. These comprise the historical, political and philosophical background to woman’s treatment both behind, and in front of, the camera; my lived experiences as an emerging writer/director as I write Float; and my representation of the screenplay’s central female character.
I use the multiple logic of screenplay diegesis to explore the issues that have a bearing on women’s ability to be active agents in the world they inhabit, including: the dichotomising of female desire, the influence of familial history, the repression of the mother, the dominance of the male gaze, the disavowal of female specificity, and women’s consequent dislocation from their self-determined desire. These obstacles are simultaneously negotiated as I map my process of writing Float and deal with the challenging contexts in which the screenplay was created. In the course of my scriptwriting investigation, film feminist and French poststructuralist paradigms are considered and negotiated as I experiment whether it is possible for female filmmakers, and their female characters, to overcome the seemingly insurmountable odds facing women’s actualisation today.
My research brings to light the critical need for more inclusive modes of practice across the film industry, discourse and pedagogy that are cognisant and respectful of reel women’s difference, and allow them to explore their own specificity. The thesis argues that it would be advantageous for female filmmakers to challenge their ‘fixed’ status in phallocentric discourse, and to deconstruct their patriarchal conditioning through engagement with forms of identity and writing resistance that recognise the fluidity of their subjectivity, and the consequent potential for change. I also highlight the importance of an accessible and affirmative feminist cinema pertinent to the 21st century, to integrate feminist ideals into the mainstream, and finally bring reel woman out of the margins.
22
Perez, Edwin. "Procedimentos autorais no documentário brasileiro no Século XXI: três estudos de casos". Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19136.
Testo completoAbstract (sommario):
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-04T16:54:51Z
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The present study is focused on the relations between author and work in the documentary field. The main subject is to rediscover imprints of knowledge of the maker considering his technical and intelectual options. Along with it, the proposal is to evaluate how the documentary maker relates with the city and the figures within. The corpus of this work is composed by three audiovisual plays that reference to the city of São Paulo: “A Margem do Concreto” (2005) of Evaldo Mocarzel, “Elevado 3.5” (2006) of João Sodré and “Mataram Meu Irmão” (2013) of Cristiano Burlan, all enrolled and rewarded works in the Festival Internacional de Documentários de São Paulo “É Tudo Verdade”. The theoretical frameworks mobilize the books “...mas afinal o que é mesmo documentário?” of Fernão Ramos, “Introdução ao Documentário” of Bill Nichols, “Espelho Partido – Tradição e transformação do documentário” of Silvio Da-Rin and “Cineastas e Imagens do Povo” of Jean-Claude Bernardet. Methodologically the execution of this project demanded bibliographic review and interviews with the mentioned makers
A presente pesquisa está voltada para as relações entre autor e obra no campo do documentário. Trata-se especificamente de reencontrar marcas da formação do realizador em suas opções técnicas e intelectuais. Em paralelo objetiva-se ainda examinar como o documentarista se relaciona com a cidade e suas personagens. O corpus do trabalho é constituído de três peças audiovisuais que têm por universo de referência a cidade de São Paulo: “A Margem do Concreto” (2005) de Evaldo Mocarzel, “Elevado 3.5” (2006) de João Sodré e “Mataram Meu Irmão” (2013) de Cristiano Burlan, trabalhos inscritos e premiados no Festival Internacional de Documentários de São Paulo “É Tudo Verdade”. Os referenciais teóricos mobilizam os livros “...mas afinal o que é mesmo documentário?” de Fernão Ramos, “Introdução ao Documentário” de Bill Nichols, “Espelho Partido – Tradição e transformação do documentário” de Silvio Da-Rin e “Cineastas e Imagens do Povo” de Jean-Claude Bernardet. Metodologicamente a execução do projeto demandou revisão bibliográfica e entrevistas com os referidos realizadores
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Trowbridge, Hayley. "From the cinema screen to the smartphone : a study of the impact of media convergence on the distribution sector of American independent cinema 2006-2010". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2010341/.
Testo completoAbstract (sommario):
Film distribution has undoubtedly changed during this contemporary era of media convergence, with a range of innovative practices and methods being adopted across US film and the arrival of new organisations to the industry and distribution sector. This should not suggest that conventional distribution and marketing methods are extinct, or that the traditional gatekeepers of these fields are obsolete. Rather it should indicate a merging of old and new strategies, practices, methods, and organisations, and it is through this fusion of tradition and novelty that today’s complex distribution landscape has emerged. At the forefront of many of these changes has been American independent cinema and as such, the central question posed by this thesis is: how has media convergence impacted on the distribution and marketing of American independent cinema, and how can this impact be understood in terms of wider technological, industrial and sociocultural contexts relevant to the current media landscape? In answering this, this thesis provides a comprehensive re-mapping of the distribution sector of American independent cinema, in terms of the distributors involved and methods and strategies through which films are being released, within this contemporary era of media convergence. This thesis uses the concept of media convergence as a complex and multifaceted lens that has dimensions in the technological, industrial and sociocultural realms, through which recent innovations in film distribution and marketing can be examined. Underpinning this framework is the adoption of an approach informed by the emergent media industry studies agenda (Holt and Perren, 2009; Hilmes, 2013; and McDonald, 2013). The implementation of this converged method to understanding media industries has allowed for a fluid, diverse and multi-layered assessment of the area under examination. Specifically, the thesis uses Thomas Schatz’s (2009) macro and micro level framework to examining film industries in order to identify key trends and industrial practices within American independent cinema (and, to a degree, US film at large), exploring how they relate to specific films, filmmakers and companies, within a distribution context. From this a number of key findings have emerged, including: • The identification of a new industrial structure that has facilitated a form of re-conglomeration of parts of the American independent cinema that is similar to the co-option of American independent cinema in the late 1980s and early 1990s. • The identification of new, collaborative distribution and marketing strategies being used within American independent cinema that not only seek to connect films with consumers, but also involve them, to varying degrees, in related processes. • An outline and discussion on how changes within the distribution sector have impacted on film form and consumption practices evident in this era of convergence. The thesis provides original contributions to knowledge in the fields of American independent cinema and distribution studies at large by: reconceptualising what independent film is within this contemporary period of media convergence; reframing discussions on film distribution to be more inclusive and less elitist in their scope; providing new methodological approaches to understanding the wider workings of film distribution and marketing; and demonstrating how distribution studies can be utilised to understand innovations within the fields of film production and exhibition.
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Ródenas, Cantero Gabriel. "Jim Jarmusch: Lecturas sobre el insomnio americano (1980-1991)". Doctoral thesis, Universidad de Murcia, 2009. http://hdl.handle.net/10803/10835.
Testo completoAbstract (sommario):
La presente tesis doctoral aborda el primer periodo de la filmografía de Jim Jarmusch. La tesis principal es que su cine supone una respuesta cinematográfica al estado de las cosas durante el denominado "Periodo Reagan" y una relectura de la tradición fílmica anterior.The present Ph.D. tackles the first period in Jim Jarmusch´s Filmography. The main Thesis is that his Cinema is a reaction to the Status Quo during the so-called "Reagan in-office Period" and a relecture of the previous Filmic Tradiction
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Rolim, Cristhine Lucena. "Estratégias alternativas de produção no cinema brasileiro contemporâneo: o caso da cooperativa Filmes a granel". Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9940.
Testo completoAbstract (sommario):
Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-06-12T12:01:19Z
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study.
Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.
26
Rogers, Anna Rebecca. "The crisis-image : rites of passage in American independent cinema (Coppola, Jarmusch and Van Sant, 1994-2004)". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/27298.
Testo completoAbstract (sommario):
My aim in this thesis is to examine a corpus of six films as loose representations or investigations of various rites of passage: adolescence, death and life-choice. In order to do this, I will draw upon a synthesis of theoretical texts: primarily the film-philosophy of Gilles Deleuze (1925-1995) (in particular his theory of crisis, cinematic time and thought) and the anthropological writings of Arnold van Gennep (1973-1957) and Victor Turner (1920-1983) on rites of passage. More specifically, I will focus on the concept of liminality as a state in which one is ?betwixt and between? (Turner 1995: 95) categories. Any rite of passage, as we will see, can be separated out into a tripartite structure: separation, liminality and re-integration. The films discussed in this thesis centre on the stage of liminality as one of inherent ambiguity, metamorphosis and transition. More often than not, the passage is not completed so the liminal stage is never resolved. As I will demonstrate in the following chapters, film is the ultimate medium for presenting crisis and liminality because its very essence as an art form is being as change. Through close analysis of the six films to be discussed, I will demonstrate that contemporary American Independent cinema has produced some of the prime examples of film as the medium of crisis, liminality, evolution, mutation or becoming-other. At this stage, I will outline the corpus of films to be examined in this thesis and then elaborate on the main theoretical framework I will employ in order to draw out the specificity and complexity of this kind of cinema.
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Soll, Adam. "In Defense of Sundance: Examining the Film Festival’s Place in American Independent Cinema in the Age of Netflix and Amazon". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1630.
Testo completoAbstract (sommario):
For more than 30 years, the Sundance Film Festival has served as the preeminent venue for exhibiting and selling American independent films. Since the festival’s inception, however, the distinction between Hollywood and indie films has become increasingly unclear, and Sundance has been accused of selling out to the mainstream. On one hand, the Sundance Institute continues to support and incubate truly independent artists who otherwise may never get their films made; on the other hand, the festival that the institute puts on every year is full of A-list stars, corporate sponsors, and countless other examples of Hollywood elitism. The American independent cinema is as vibrant in 2017 as ever, and new powerful players such as Netflix and Amazon who seemed to enter the scene overnight are now investing a great deal of money in the production and acquisition of Sundance films. Though it may seem counterintuitive, 2017’s edition of the festival proves that the presence of these massive corporations and Hollywood stars fosters and facilitates the creation and celebration of American independent film.
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Cottrell, Matt Dee. "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema". DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/485.
Testo completoAbstract (sommario):
The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. This research shows that studios now descend upon the festival to acquire films for commercial distribution. The Sundance Film Festival seems to currently operate as a marketplace for films rather than an independent festival. This research seeks to examine how Hollywood studios have been able to infiltrate and commodify independent projects from the Sundance Film Festival and what the potential ramifications are for emerging independent filmmakers seeking to have their projects screened at the festival. In other words, have Hollywood studios coopted the Sundance Film Festival and if so, what does this process look like? This research seeks to answer these questions through an analysis of Sundance Film Festival data and interviews with festival informants.
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Katjavivi, Perivi John. "Film and national culture in Namibia: a study and analysis of how the films 100 Bucks and Try have contributed to the creation of post-colonial identity and national culture in independent Namibia". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22784.
Testo completoAbstract (sommario):
I wish to present a study of the different literature regarding national culture, African cinema and postcolonial identity and explore how it relates to local cinema in Namibia. How have Namibian films contributed to this debate? The films 100 Bucks and Try contributed to the creation of postcolonial identity and national culture in independent Namibia. This dissertation will focus primarily on the aesthetics, themes and stories produced in Namibia since 2000 as well as how our storytelling and funding models can learn from other industries throughout the world. I will undertake an examination of past works and writings on the topic of national culture in post colonial African states, nationalism and African identity.
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Strader, Laura K. "An Exploration in Funding Independent Film". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1410189827.
Testo completo
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Weinrib, Melinda Marcia 1960. "A study of the minority status of independent films in the deaf community: Implications for deaf studies curriculum development". Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/291360.
Testo completoAbstract (sommario):
A potentially rich source of curricular material for the development of a Deaf Studies curriculum lies in the category of feature films. The case of minority status of films produced by the American Deaf community is presented based on a comparison with the African-American independent film industry. An ethnographic study formulates an understanding of the contributions made by deaf independent filmmaker, Ernest Marshall. Marshall's personal background, his film business and perspectives on the value of film and signed language are discussed. A description of Marshall's film collection also provides an excellent historical resource for signed language use and for cross-cultural comparison purposes. Film studies are stressed as a viable teaching approach where the film medium providing cultural insights into the lives of deaf people and serving as a primary source for the documentation and preservation of American Sign Language.
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Boutang, Adrienne. "« Jusqu’où peut-on aller trop loin ? » Transgression, seuils de tolérance et circulation de représentations dans le cinéma américain entre les secteurs mainstream et indépendant, de 1990 à 2007". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030108.
Testo completoAbstract (sommario):
Cette thèse se propose d’étudier la circulation de représentations et de thématiques transgressives entre deux pôles de la production cinématographique américaine contemporaine, le cinéma indépendant et le cinéma mainstream, du début des années 1990 à 2007. Comparer entre elles les œuvres issues de secteurs de production différents a permis d’étudier, sur une période et dans une société données, les fluctuations du seuil de tolérance face à des représentations et des thématiques taboues, ou simplement dérangeantes. On a ici tenté de déterminer, d’une part ce qui peut ou non circuler d’un pôle à l’autre, d’autre part les modifications qui permettent et légitiment la circulation de thématiques. On a opéré un va et vient entre analyses internes, comparaison des œuvres d’un pôle à l’autre, et analyses externes, faisant intervenir des questions génétiques et des enjeux de réception. Décider de la portée choquante d’une représentation nécessite en effet de prendre en compte le contexte de production et de réception qui la place au cœur d’un réseau d’attentes et d’interprétations susceptible d’en atténuer ou à l’inverse d’en amplifier la portée. La notion de transgression a été à la fois définie a priori, dans une perspective éthique, en mettant l’accent sur la permanence de certains grands tabous, catégories universellement susceptibles d’entraîner chez le spectateur un sentiment de malaise, et être replacée dans une histoire culturelle des bienséances, traversée par des courants contradictoires et pas toujours linéaires. Ce travail se situe donc à la croisée du socio-culturel – questions de réception, de contexte culturel, les œuvres s’inscrivant dans un contexte social qui en modifie la portée – et de l’analyse interne – puisque l’horizon de ces recherches reste l’analyse de stratégies esthétiques ou narratives internes aux films. La présente étude est donc divisée en deux – mainstream d’un côté, "indépendant", de l’autre, et conçue pour fonctionner en miroir : s’y font écho des chapitres similaires, construits autour de thématiques qu’on retrouve de part et d’autre, la structure reflétant donc l’approche comparatiste développée plus hautThe aim of this work is to offer an examination of the way "edgy" images and themes have been "circulating" between mainstream and Independent cinema in the United States, from 1990 to 2007, during which those two distinct economic territories have tended to merge. By comparing films that originate from different industrial locations, I tried to determine the actual boundaries between acceptable and unacceptable themes and representations, and to examine whether and how those boundaries have fluctuated at a particular moment, both diachronically and synchronically. The secondary goal of this work was to analyze "from the inside", through detailed text-centered studies, what textual strategies were used by the films in order to make the transgression more palatable. Both textual and extratextual tools of analysis have been used through this study, which took into consideration both the "texts" and their "paratexts", distribution, promotion, and reception. Laying bare the mechanisms of regulation and tolerance required to consider the films from the stage of their genesis to their distribution and reception. Therefore, I tried to analyze the thresholds of representation through a combination of textual analysis and metatextual analysis, laying bare the process of negotiation that takes place in the contemporary Hollywood as well as in its margins. The notion of "transgression" has been defined by taking into account both "universal" topics, which are not likely to fluctuate much through time, and topics of titillation or scandal that are more specific and linked to a specific cultural or sociological context. This study is divided in two parts, mainstream and Independent, that are meant to echo with each other
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Saturnino, Céline. "Une monographie : Gus Van Sant : étude esthétique d'une oeuvre cinématographique entre harmonie et ruptures". Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30001.
Testo completoAbstract (sommario):
De son premier film, Mala Noche (1985) jusqu’à Paranoid Park (2007), Gus Van Sant, cinéaste américain, propose une oeuvre protéiforme se divisant en trois périodes. Passant sans transition d’un cinéma foncièrement indépendant à des films de studios hollywoodiens, le cinéaste investit des systèmes de production opposés où il développe différentes approches de l’art cinématographique. Ses premiers films indépendants se caractérisent par une liberté et une prodigalité formelles, notamment portées par un brassage de références artistiques multiples (des auteurs de la contre-culture à Orson Welles en passant par Jean Genet). A cela s’oppose le classicisme de sa deuxième période, induit par le recours à des genres hollywoodiens canoniques, mais cependant troublé par l’étrange remake du Psychose d’Alfred Hitchcock. Après quoi le cinéaste renoue avec le circuit indépendant via des oeuvres proches de l’expérimentation en allant vers une épure de l’expression cinématographique. L’hétérogénéité esthétique de l’oeuvre de Gus Van Sant trouve néanmoins unecohérence grâce à une série de motifs iconographiques récurrents et à un axe thématique fort qui la traverse de bout en bout : l’individu, souvent marginal, dans son rapport aux autres et au monde, troublé par des crises identitaires, une quête des origines et un devenir incertain. Cette problématique s’exprime à travers un cinéma humaniste, entièrement voué auxpersonnages, au point de faire de leur seule présence sa matière même, sa condition d’existence – ou quand Gus Van Sant rejoint le « cinéma des corps » défini par Gilles Deleuze. Tous ses films apparaissent alors comme des variations esthétiques sur le même thème, et sont autant de questions posées au cinéma et par le cinéma, explorant sans cesse ses diverses potentialitésFrom his first movie, Mala Noche (1985), until Paranoid Park (2007), Gus Van Sant, American film director, offers a protean body of work which can be divided into three phases. As a director, he gets himself into opposite production systems, smoothly alternating between fundamentally independent productions and Hollywood studios movies, and in doing sodevelops different approaches of the film art. His first independent movies are characterized by formal freedom and abundance which can notably be brought about by the mingling of so many artistic references (from counter-culture authors, to Orson Welles or Jean Genet). To this can be opposed his second phase classicism, consecutive of his resorting to canonic Hollywood genres, but somehow blurred by his strange Alfred Hitchcock’s Psycho remake.After that, the director comes back to the independent circuit via close to experimentation works, going towards an uncluttered film expression. There is however coherence in Gus Van Sant’s aesthetics of heterogeneity through aseries of recurring iconographic patterns and a strong thematic axis : the individual in his relations with other people and the world, often a dropout troubled by identity crisis, a quest for his origins and an uncertain becoming. This issue is expressed through a humanistic cinema, entirely devoted to the characters, to the point of making their mere presence its very substance, its condition of existence – Gus Van Sant catches up the “cinéma des corps” that Gilles Deleuze helped define. All of his movies then appear as aesthetic variations on the same theme and they are just as many questions asked to the cinema by itself, unceasingly exploring its various potentialities
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Vilallonga, Montañá Francesc Xavier. "El sector de l'exhibició cinematogràfica a Catalunya en l'era de la digitalització (2000-2013). Evolució i anàlisi. Formes d'exhibició alternatives als cinemes independents. El cas del Cinema Truffaut de Girona". Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/336985.
Testo completoAbstract (sommario):
El procés de digitalització de la indústria cinematogràfica ha afectat de forma profunda les dinàmiques professionals dels àmbits de la producció, la distribució i l’exhibició. La investigació analitza els orígens del cinema digital i la implementació de la reconversió digital en el sector de l’exhibició. Es fa un recorregut per les diverses fases d’implementació de la tecnologia digital als cinemes: des de la definició d’uns protocols tècnics universals, fins a les vies de finançament que han fet possible portar a terme el procés. També s’analitza com s’han transformat els mecanismes de la distribució i l’exhibició cinematogràfica en aquest nou context de convergència digital. Es posa un èmfasi especial en les polítiques públiques de suport a la digitalització i en la implicació i responsabilitat de les administracions per fomentar i finançar aquests canvis en el sector cinematogràfic. A més s’analitza la rellevància que les projeccions en 3D i els continguts alternatius tenen en el futur de l’exhibició, i com aquests canvis afecten els cinemes independents, especialment en el context europeu.
L’estudi fa una anàlisi de l’evolució de l’exhibició cinematogràfica a Catalunya entre els anys 2000 i 2013. A partir de dades oficials de l’Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), s’analitzen tots els aspectes essencials que permeten fer una radiografia del sector de l’exhibició durant el segle XXI. Així, s’estudia l’evolució del número de cinemes i pantalles, el model de sala i la seva capacitat, les oscil·lacions en el volum d’espectadors de cinema o l’evolució dels preus i les recaptacions. A més, es fa una anàlisi del cinema en versió original, de la distribució territorial de les sales, de la presència de les diverses llengues al cinema així com de les projeccions en 3D i de la situació del procés de digitalització a Catalunya.
L’última part de la investigació es centra en un estudi de cas, el Cinema Truffaut de Girona. Es fa una síntesi de la seva evolució històrica i la seva singularitat de ser l’única sala d’exhibició cinematogràfica en versió original que hi ha a Catalunya fora de Barcelona i la seva àrea metropolitana. S’analitza el model d’exhibició alternativa amb suport públic que suposa el Cinema Truffaut i es fa un anàlisi de dades per valorar els seus resultats, viabilitat i impacte en el panorama cinematogràfic de la ciutat de Girona.El proceso de digitalización de la industria cinematográfica ha afectado de forma profunda las dinámicas profesionales de los ámbitos de la producción, la distribución y la exhibición. La investigación analiza los orígenes y evolución del cine digital así como la implantación de la reconversión digital en el sector de la exhibición. Se realiza un recorrido por las diversas fases de desarrollo de la tecnología digital en los cines: desde la definición de unos protocolos técnicos universales, hasta las vías de financiación que han hecho posible el proceso. También se analiza como se han transformado los mecanismos de la distribución y la exhibición cinematográfica en este nuevo contexto de convergencia digital. La investigación se focaliza especialmente en las políticas públicas de apoyo a la digitalización y en la implicación y responsabilidad de las administraciones en fomentar y financiar estos cambios en el sector cinematográfico. Además, se estudia la relevancia que las proyecciones en 3D y los llamados contenidos alternativos tienen en el futuro de la exhibición, y de qué forma estos cambios afectan a los cines independientes, sobretodo en el contexto europeo. El estudio analiza la evolución de la exhibición cinematográfica en Cataluña entre los años 2000 y 2013. A partir de datos oficiales del Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), se recogen sistemáticamente todos los aspectos esenciales que permiten realizar una radiografía del sector de la exhibición durante el s.XXI. De esta forma, se estudia la evolución del número de cines y pantallas, el modelo de sala cinematográfica y su capacidad, las oscilaciones en el volumen de espectadores de cine o la evolución de los precios y las recaudaciones. Además, se analiza el cine en versión original, la distribución territorial de las salas, la presencia de las distintas lenguas oficiales en el cine así como las proyecciones tridimensionales y la situación del proceso de digitalización en Cataluña. La última parte de la investigación se centra en un estudio de caso, el Cine Truffaut de Girona. Se realiza una síntesis de su evolución histórica y su singularidad al ser la única sala de exhibición cinematográfica en versión original que hay en Cataluña fuera de Barcelona y su área metropolitana. Se estudia el modelo de exhibición alternativa con apoyo público que supone el Cine Truffaut y se realiza un análisis de datos para valorar sus resultados, viabilidad e impacto en el panorama cinematográfico de la ciudad de Girona.
The process of digitization of film industry has deeply affected professional dynamics in the areas of production, distribution and exhibition. The research analyzes the origins and evolution of the digital cinema as well as the implementation of the digital conversion in the exhibition sector. It explains the different phases of the development of digital technology in cinemas: from the definition of universal technical protocols, to avenues of funding that made possible the process. And it also analyzes how the mechanisms of distribution and the film exhibition are transformed in this new context of digital convergence. The research focuses especially on public policies to support digitization and the involvement and responsibility of the authorities to promote and finance these changes in the film industry. In addition, explores the relevance that projections in 3D and alternative content will have in the future of the exhibition, and in what form these changes affect the independent cinemas, especially in the European context. The study analyzes the evolution of the film exhibition in Catalonia between 2000 and 2013. Based on official data from the Institut Català de les Empreses Culturals of the Generalitat de Catalunya (ICEC), systematically collects all the essential aspects that allow to perform an accurate display of the sector during the 21st century. In this way, it explores the evolution of the number of cinemas and screens, movie theatre models and capacity fluctuations in the volume of viewers of film or the evolution of prices and revenues. In addition, discusses cinemas in original version, the territorial distribution of the screens, the presence of the different official languages as well as three-dimensional projections and the situation of the process of digitization in Catalonia. The last part of the investigation focuses on a case study, the Cinema Truffaut of Girona. It explains a synthesis of his historical evolution and its uniqueness as the only cinema with exhibition in original version that exists in Catalonia outside Barcelona and its metropolitan area. The research focuses in the model of alternative exhibition with public support that Cinema Truffaut means. A data analysis is carried out to assess their results, feasibility and impact on the cinematic panorama of the city of Girona.
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Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.
Testo completo
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Silva, Iomana Rocha de Araújo. "Cinemas fluidos: análise das interrelações entre cinema independente experimental brasileiro e arte contemporânea no contexto pós-cinema". Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/13154.
Testo completoAbstract (sommario):
Submitted by Amanda Silva (amanda.osilva2@ufpe.br) on 2015-04-14T15:43:38Z
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A partir da observação do contexto atual da produção do cinema independente experimental brasileiro, notamos a interação estética e conceitual deste cinema com elementos da arte contemporânea. Esta produção nos remete a um contexto caracterizado pela expansão dos conceitos do que se entende por cinema, transbordando as características formais e estéticas do cinema tradicional. Numa primeira parte enfatiza-se alguns filmes dentro do que chamamos aqui de cinema independente experimental contemporâneo brasileiro, e a partir deles é feito uma analise associativa com segmentos da arte contemporânea, como a performance, arte processual, arte conceitual, criações em rede, minimalismo, entre outros. Em uma segunda parte, observase esta produção cinematográfica e essa interação com a arte contemporânea enfatizando a experiência estética. Foca-se na valorização da sensibilidade e subjetividade do espectador em sua relação com a obra, tendo por base teóricos como Didi-Huberman e Merleau-Ponty. Por fim, embasado pelo conceito de “efeito cinema” de Philippe Dubois, apontamos para um cenário de filmes fluidos, uma experiência imersiva que evoca a participação do espectador para preencher seus vazios, filmes em que o espectador se faz necessário para a obra se fazer completa, evocam uma experiência estética específica, à qual associamos o conceito de “efeito instalação”.
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Ramirez, Gracia. "'In the best interests of the country' : the American Film Institute and philanthropic support for American experimental and independent cinema in the 1960s". Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/6266.
Testo completoAbstract (sommario):
In the mid-1960s and early 1970s, experimental and independent cinema received a considerable amount of support from the U.S. federal government through the American Film Institute (AFI), and from private philanthropies and arts institutions such as the Rockefeller Foundation (RF) and the Museum of Modern Art (MoMA). These measures appeared at a moment when the theatrical film industry was reorganising its industrial model and its main trade organisation, the Motion Picture Association of America (MPAA), was revising its moral standards. Only recently scholars have started historiographical research on experimental cinema's connection with arts and academic infrastructures, yet they have not paid similar attention to the FI's support for experimental and independent cinema production. Thus, they have failed to explain experimental and independent cinema's complex relationship with both the theatrical film industry and philanthropic enterprises during that period. In this project I address these connections through archival research on the FI's experimental and independent film production fund, the Independent Filmmaker Program (IFP), relating this measure to other distribution and exhibition policies. I locate the origins of these policies in pre-WWII federal government's and RF's film education and propaganda programmes. Then I further contextualise the measures within the wider international state of the film industry between 1945 and 1974. Thus I argue that the policies advanced in the 1960s engaged with some of the demands of experimental and independent filmmakers and critics for freer personal expression and more flexible modes of film production. At the same time, these policies contributed to expand non-theatrical film production and update film education in line with the interests of the main theatrical film industry. This study contributes to understand a key moment in American film history considering both the relationship between the U.S. federal government, private philanthropies and the MPAA, and between institutions and filmmakers.
38
Chang, Hsin-Ning. "Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490956487498085.
Testo completo
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Soles, Carter Michael. "Falling Out of the Closet: Kevin Smith, Queerness, and Independent Film". Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/9021.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 415-429). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Goshorn, John. "The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.
Testo completoAbstract (sommario):
The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels - aesthetic, narrative, technical, and industrial - while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience.ID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Taranger, Nils. "A Blue Flower: The Development of a Personal Documentary". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5526.
Testo completoAbstract (sommario):
A Blue Flower is a feature-length documentary film by Nils Taranger, made as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film focuses on the director's journey to find healing, both physically and emotionally. Following the guidelines of UCF's program, Nils produced the film on a microbudget (under $50,000) level. The majority of filming took place in Florida with only a one or two person crew. This thesis is a record of the film's progression from development to picture lock, in preparation for distribution.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Mikhail, Samia, e fasisami@netspace net au. "The experimental art of Arthur and Corinne Cantrill". RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20061222.094324.
Testo completoAbstract (sommario):
This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?
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Arthuso, Raul Lemos. "Cinema independente e radicalismo acanhado: ensaio sobre o novíssimo cinema brasileiro". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-13032017-135431/.
Testo completoAbstract (sommario):
Esta dissertação tem por objetivo traçar um panorama crítico do jovem cinema brasileiro independente, conhecido como novíssimo cinema brasileiro, no período de 2005 a 2011. Esteticamente, essa nova geração incorpora formas consagradas do cinema contemporâneo de arte internacional numa chave particular, na qual os recursos da linguagem parecem retesados, realçando o detalhe, o peso da extensão do tempo e a força de momentos marcados ao invés da ambiência, o movimento e a porosidade da estética de fluxo, espelhamento de sua experiência de interlocução problemática com o corpo social. Os filmes ganham em força subjetiva, expressando a sensibilidade do criador-narrador. A interação entre esta sensibilidade e um mundo em crise circunscreve a leitura das obras, mostrando como as soluções formais dos filmes vão de um processo de acanhamento do olhar a uma afirmação desse olhar extremamente subjetivo como postura radical frente ao impasse, sendo possível falar em um radicalismo acanhado, desejando explodir o mundo, mas sem energia para realizá-lo, suspendendo o confronto.The goal of this essay is to draw a critical panorama of the young independent Brazilian cinema, known as novíssimo cinema brasileiro (brand new Brazilian cinema), from 2005 to 2011. Aesthetically, this new generation takes forms already established in contemporary international arthouse cinema and incorporates them in a particular manner, through which film language procedures seem stiffened, highlighting the detail, the weight of the extension of time and the power of specific moments instead of ambience, the movement and the porosity of flux aesthetics, thus reflecting its own problematic experience of interchange with the social body. The films gain in subjective power, an expression of the sensibility of the creator-narrator. The interaction between this sensibility and an outer world in crisis permeates the interpretation of the pieces, demonstrating how the formal solutions contained in the films go from a growlingly timid outlook to an affirmation of this extremely subjective outlook as a radical posture before impasse, making it possible to speak of a timid radicalism, which wishes to explode the world but has no energy to do so, thereby suspending confrontation.
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Martínez, Torres Raúl. "Jim Jarmusch desde la postmodernidad. Las teorías posmodernas como fuente de análisis de las películas de Jim Jarmusch". Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/298176.
Testo completoAbstract (sommario):
Aquest treball de tesi doctoral analitza la cinematografia del realitzador nord-americà Jim Jarmusch des de la perspectiva de les teories postmodernes. A través de diferents paràmetres que examinen la presència d'elements tant estètics com ideològics propis de la postmodernitat en la seva filmografia, aquest treball planteja la postmodernitat més com un marc de producció i recepció que com un corrent cultural lliurement assumit. La relació del creador amb les obres alienes i la dels seus personatges davant d'un entorn desproveït de discurs integrador són els eixos de l'estudi que ofereixo de les pel·lícules de Jim Jarmusch.Este trabajo de tesis doctoral analiza la cinematografía del realizador estadounidense Jim Jarmusch desde la perspectiva de las teorías posmodernas. A través de diferentes parámetros que examinan la presencia de elementos tanto estéticos como ideológicos propios de la posmodernidad en su filmografía, este trabajo plantea la posmodernidad más como un marco de producción y recepción que como una corriente cultural libremente asumida. La relación del creador con las obras ajenas y la de sus personajes frente a un entorno desprovisto de discurso integrador son los ejes del estudio que ofrezco de las películas de Jim Jarmusch.
This doctoral thesis analyzes the oeuvre of US film director Jim Jarmusch from the perspective of postmodern theories. By applying a series of parameters that explore the presence of typical postmodern aesthetic and ideological elements in his films, postmodernity is not viewed as a cultural current one is free to engage in, but rather as an environment one is unwillingly immersed in. The main foci of my analysis are the relationship between Jim Jarmusch's work and the work of other film directors and the lack of connection between his characters as well as a dissociative, fragmented environment which fails to integrate the various elements of Jarmusch's movies.
45
Werneck, Daniel Leal. "Estratégias digitais para o cinema de animação independente". Universidade Federal de Minas Gerais, 2005. http://hdl.handle.net/1843/VPQZ-75VP3W.
Testo completoAbstract (sommario):
This paper is the result of two years of research that explored the most up-to-date possibilities of animation cinema inside the realms of digital technology and the use of personal computers in the production of animation movies. The information contained here is presented as a
practical manual, full of technical and analytical inquiries. The idea is to create a text that works both for general people who are interested in the subject, and also for academical researchers. The final text will be freely distributed in the Internet, in the form of a free public website.A presente dissertação é fruto de dois anos de pesquisa que exploraram as atuais possibilidades do cinema de animação dentro do âmbito da tecnologia digital e do uso de computadores pessoais na produção de filmes de animação. As informações aqui contidas se apresentam tanto em forma de manual prático quanto em forma de análises e questionamentos teóricos, buscando uma situação híbrida entre a capacitação informativa do público interessado e o trabalho teórico e prático de pesquisa acadêmica, de forma que o texto final possa ser divulgado livremente através da Internet em forma de um website onde qualquer usuário possa ter acesso gratuito a essas informações.
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MARTINS, Charles Douglas. "As novas Representações do Cinema Angolano: narrativas e produção de alteridades". Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/18297.
Testo completoAbstract (sommario):
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Desde o surgimento do cinema, as antigas colônias africanas receberam grandes missões cinematográficas que aliadas a antiga antropologia administrativa trouxe um amplo leque de representações que duram até hoje no imaginário da sociedade eurocêntrica. A pesquisa concentra o campo em Angola e busca acompanhar as mudanças nos processos de representação e situar o leitor na fase chamada de retomada do cinema angolano onde a juventude em meados do início do século munidos do advento da tecnologia digital nos processos de registro e montagem visual, recriam suas representações quanto a sua sociedade e sua interpretação em relação ao homem branco. Bem como, a pesquisa aponta os processos de identificação do público cinéfilo para essa fase cinematográfica que sacode as salas de cinema em Angola.
Since the dawn of cinema, the former African colonies received major film missions that combined the old administrative anthropology brought a wide range of representations that last to this day in the minds of the Eurocentric society. The research concentrates the field in Angola and search track changes in the representation of processes and position the reader on the Angolan film resumption call phase where the youth in the middle of the beginning of the armed century the advent of digital technology in registration processes and visual assembly recreate their representations as their society and their interpretation with regard to the white man . As well, the research shows the public identification procedures cinephile for this film phase that shakes the theaters in Angola .
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Camargos, Carla Gomide Santana de. "Produção audiovisual independente e televisão : a luta pelo espaço de exibição". reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/9722.
Testo completoAbstract (sommario):
Dissertação (mestrado)—Universidade de Brasília, Centro de Ciências Humanas e Sociais, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2011.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-11-11T11:19:43Z No. of bitstreams: 1 2011_CarlaGomideSantanaCamargos.pdf: 1566716 bytes, checksum: f2f6a9b6b8715b35a2c82935cf48da88 (MD5)
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Essa dissertação apresenta uma análise das disputas empreendidas pela corporação audiovisual no ambiente legislativo, entre 1999 e 2010 em torno da adoção de medidas legais que contemplem a exibição da produção audiovisual nacional independente pela televisão. A partir do início do século XXI, o relacionamento com a televisão passou a ocupar um lugar de destaque entre as ações a serem implantadas com o objetivo de atingir a industrialização, na visão do campo audiovisual. Nesse momento, tanto a TV aberta, quanto a TV paga já estavam assentadas em sólidos modelos de negócios. Inspirados pelo art. 221 da Constituição Federal, os produtores pressionam o Estado no sentido de intermediar a negociação com a televisão, que rejeita a regulamentação do setor. As disputas pela instituição da cota de tela foram travadas especialmente no processo de criação da Agência Nacional do Cinema, na tentativa de sua transformação em Agência Nacional do Cinema e do Audiovisual e a partir da convergência tecnológica que promoveu uma aproximação entre televisão e telecomunicações e forçou o estabelecimento de um novo arcabouço legal para a televisão por assinatura. Nessa conjuntura, o audiovisual nacional independente viu uma oportunidade de inserção. Além da proteção do Estado, sua estratégia incluiu a composição com outros grupos de pressão. Por meio das audiências públicas ocorridas na Câmara dos Deputados e no Senado Federal e da documentação oficial, esse trabalho aborda a construção de uma nova concepção de política audiovisual e das novas configurações e jogos de poder que se instauraram no setor. ______________________________________________________________________________ ABSTRACT
This dissertation presents an analysis of the shape of the audiovisualindustry speech in the congress between 1999 and 2010 about the adoption of legal actions related to the independent national audiovisual production and television. Since the beginning of the XXI century, the relationship with television has been in the centre of actions to be implemented with an aim to achieve audiovisualindustrialization. At this moment, both free-to-air TV and pay-TV have solid business models. Inspired by article 221 of the Brazilian Federal Constitution, producers have been pressing the Government to intermediate discussions with the television industry, which rejects any regulation of the sector. Disputes on the implementation of quota were held especially when the National Cinema Agency was being created, with an attempt to transform it in a National Cinema and Audiovisual Agency, and from the technologic convergence that brought together television and telecommunications and forced the establishment of a new legal framework for pay-TV. In this conjuncture, the national independent audiovisual saw an opportunity to insert in this market. Apart from being protected by the Government, their strategy included alliances with other important groups capable of pressure. Through public hearings taken place in the Chamber of Deputies and the Federal Senate, and also official documents, this dissertation deals with the construction of a new conception for an audiovisual policy and with the new configuration of the audiovisual sector.
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Pierre-Bouthier, Marie. "Pour un nouveau regard : gestes documentaires de résistance au Maroc : des années 1960 à nos jours". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H034.
Testo completoAbstract (sommario):
Au début des années 1960, les ambitions des cinéastes marocains pour un art décolonisé et réinventé se heurtent à un régime politique autoritaire, à un système productif rigide et contrôlé, et à une censure souvent non dite, ambiguë et contradictoire. Cette thèse explore les stratégies développées par les documentaristes des années 1960 à nos jours pour résister à ce contexte contraint et s'y tailler une part de liberté: du détournement de commandes aux tournages clandestins, en passant par les coproductions étrangères. Pour évaluer plus précisément les capacités de nuisance de ce système, mais aussi les possibilités de le contourner, cette thèse s'appuie sur l'étude du cas d' Ahmed Bouanani (1938-2011 ), avec l'analyse génétique rapprochée de deux de ses documentaires, 6 et 12 (1968) et Mémoire 14 ( 1971 ). Entravés de deux manières différentes par le Centre cinématographique marocain, ces courts-métrages gardent cependant des traces accusatrices de la censure subie, elles véhiculent toujours un message politique subtil. Leur auteur y met surtout en œuvre une part de son projet esthétique : «affronter» la réalité marocaine passée et présente via une forme documentaire ancrée dans un patrimoine ancestral. A cet égard, l'œuvre de Bouanani est une clef: la plupart des gestes résistants étudiés dans cette thèse peuvent en effet être interprétés comme la recherche des formes et dispositifs à même de rendre compte de la réalité, de l'histoire ou du patrimoine marocains. Contre les silences du discours officiel, s'ébauche ainsi la constitution d' « un nouveau regard » cinématographique pour le Maroc indépendantAt the beginning of the 1960s, Moroccan filmmakers, and their ambitions for a decolonized reinvented ait, are confronted to an authoritarian political regime, to a tightly-controlled productive system, and to an ambiguous contradictory censorship, kept seldom unsaid. This thesis studies the strategies that were developed by documentary-filmmakers from the 1960s to nowadays to resist this constraining context and find their own free path, ranging from commission diverting to clandestine shootings, passing by co-productions with foreign countries. The case of Ahmed Bouanani (1938-2011 ), through the genetic analysis of two of his documentaries, 6 et 12 ( 1968) and Mémoire 14 ( 1971 ), enables us to evaluate more precisely the harmful ways of this system, but also the possibilities to bypass its impediments. Indeed, these films were hindered in two very different ways by the Centre cinématographique marocain. And yet, they kept accusatory marks of the censorship undergone, and still convey a subtle political message. But their author makes mostly use of them to carry out part of his aesthetical project: tackling Moroccan past and present reality through a documentary form anchored in an ancestral cultural heritage. ln this respect, Bouanani is a key figure: indeed, most of the documentary gestures studied in this thesis can be construed as a search for forms and devices suitable for rendering closely Moroccan reality, history or heritage. Against official silence, the constitution of a “new” film “gaze” is thus sketched for independent Morocco
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Lang, Ian William, e n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Testo completoAbstract (sommario):
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Berne, Erlend. "Safe, selfish state-independent mobbing behaviour in the cooperatively breeding apostlebird (Struthidea cinerea)". Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for biologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-13150.
Testo completoAbstract (sommario):
In the last few decades stochastic dynamic modeling (SDM) has been used to explore adaptive state-dependent strategies in a whole host of different theoretical problems in behavioural ecology, with considerable success. It has allowed us to better understand cooperative behaviours such as sentinel behaviour, and it might allow us to more fully understand other cooperative behaviours with alternative dynamics. In a recently developed SDM, anti-predator behaviour was examined and a counter-intuitive prediction has emerged: that mobbing effort should be completely independent of state. In this study we test this interesting prediction, using the cooperatively breeding Apostlebird (Struthidea cinerea) as our study species. From October 15th to November 21st in 2009, 6 groups of varying sizes were put through a set of trials, where we used a rubber snake model to elicit mobbing behaviour in experimental trials. A similarly sized stick was used during control trials, wherein birds tended to forage. Behaviour, placement and vocalisation data on an individual basis were gathered in multiple scan samplings per trial in both kinds of treatment. This highly accurate data was then compared with within-individual differences in body mass (state). Several other variables were also considered: sex, age, breeding status, relatedness and mean body mass. Results show that while foraging behaviour was highly state-dependent during controls, no such effect was found in the mobbing effort of the same individuals during experiments. Mobbing effort also did not vary with any of the mentioned phenotypically fixed variables. Our study therefore offers the first empirical evidence of state-independent mobbing.