Tesi: "Film" – Grafiati

1

Kohli, Gurdeep Singh. "Film or film brand? : investigating consumers' engagement with films as brands". Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16312.

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Abstract (sommario):

This study offers an in-depth account of how, when and why consumers engage with films as brands, using 38 exploratory, semi-structured consumer interviews and 1030 consumer survey responses. Extant film branding literature is scarce, dominated by filmmakers' and marketers' perspectives of films as brands and is confined to exploring points of parity associations films have as brands, rather than ways films may differentiate themselves as brands. Taking on a consumer centric view, our findings show although filmmakers, production houses and marketers may jointly develop and market films with the vision of becoming brands, this doesn't necessarily guarantee consumers' engagement with such films as brands. Instead, consumers initially evaluate the coherency of a film's identity and subsequently go on to engage with films as brands, a process which is fully mediated by the emotional bonding a consumer may develop for a film and partially mediated by a film's popularity and sequels. Films' marketing/franchising efforts, iconic status and sense of timelessness moderate consumer-film brand engagement, resulting in positive word of mouth and purchase intention. Our sequential, consolidated and specified film brand engagement framework guides filmmakers and marketers on how to tactically engage consumers with their films as brands, in order to differentiate themselves within this risky and competitive market.

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2

Delavaud, Gilles. "Le film par le film : films documentaires et films didactiques pour l'enseignement du cinéma : analyses et propositions". Paris 3, 1992. http://www.theses.fr/1993PA030050.

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1. Etude de films documentaires didactique destines a l'enseignement du cinema. Les analyses portent notamment sur des realisations personnelles jointes au texte de la these. Ii. Etude de plusieurs films de fiction dit "reflexifs" : dans quelle mesure ces films peuvent-ils etre consideres comme des documentaires sur eux-memes?
I. A study of didactic documentary films intended for the teaching of cinema. The analyses treat, in particular, certain of the author's own productions, which supplement the text of the thesis. Ii. A study of several fiction films termed "reflexive" : to what extent may these films be considered to be documentaires on themselves?

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3

Wood, Sarah. "Lost film found film". Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.

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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema of Aftermath. I define this as cinema that evolved in the aftermath of the Second World War, that deploys found footage film not only as a form of critique but also as a form of participation in wider historical and political events. I argue that the Cinema of Aftermath comments on politics and is also political. Central to its project is a questioning of the potency of the archival image in both its self-reflexive and wider cultural use. In three chapters, I explore how the Cinema of Aftermath recalibrates the meaning and renews the formal possibilities of the documentary, and analyse the performance of memory, truth and evidence by this aestheticisation of archival image.

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4

Oľha, Adam. "Rodinný film ako autonómna oblasť dokumentárneho filmu". Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-97004.

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In my thesis I would like to focus on family films in exploring their orgin raw form as the family filmmakers left the rolls, cartridges, or memory cards of family film chronicles. An important aspect of the intact records is a potencionality that stems from thoughtless structure composition, unclear principles, a high degree of randomness in filmed scenes and the overall effort in shooting moments of the family life with all the "errors" which the author often avoided to take family snapshots. Thus the raw record with its shortcomings I perceive as an adequate study of its basic assumptions and possible interpretations - in its differences from any other discipline of film - and possible approximation to what we call creative documentaries.

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5

Garg, Akhilesh. "Organic Self-Assembled Films for Nonlinear Optics: Film Structure, Composition and Kinetics of Film Formation". Diss., Virginia Tech, 2008. http://hdl.handle.net/10919/28872.

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Organic materials exhibiting second-order non-linear optical (NLO) properties are a key to the development of advanced electro-optic (EO) modulators used in fiber-optic communications system. This work addresses the fabrication and characterization of organic materials with NLO properties using a self-assembly approach by alternately dipping a charged substrate into positively and negatively charged polymers to build up layer-by-layer (LbL) films. The effect of solution pH on the formation of LbL films fabricated using the polycation poly(allylamine hydrochloride) (PAH) and the polyanion poly{1-[p-(3–-carboxy-4–-hydroxyphenylazo)benzenesulfonamido]-1,2-ethandiyl} (PCBS) was studied using a quartz crystal microbalance with dissipation (QCM-D) monitoring, ellipsometry, absorbance, and second harmonic generation (SHG) measurements. PCBS has an azo-benzene chromophore side group that, when sufficiently oriented, results in measurable SHG. Films of PAH/PCBS fabricated at neutral pH where both PAH and PCBS are highly charged led to thin bilayers, ~1 nm, with a 1:1 molar ratio of PCBS:PAH. This molar ratio was found to be important for long-range polar ordering of PCBS in these films. Increasing the rate of convection was found to reduce the time required for complete adsorption of the polyion. This can have a significant impact on fabrication of films with high bilayer numbers. A variation of the above technique, which involves adsorbing one of the constituents electrostatically and another covalently, was studied using PAH and a reactive dye, Procion Brown (PB), which has a significantly higher hyperpolarizability than PCBS. It was found that a high pH, ~10.5, was important for achieving covalent attachment of the PB to the underlying PAH films. This resulted in much higher SHG intensities compared to when PB was deposited pH at 8.5-9.5 where the attachment of PB was due to a combination of electrostatic and covalent interactions. QCM-D results for PAH/PB films revealed the presence of a high percentage of unreacted amine groups in the underlying PAH film. A rate constant value for PB attachment step to the underlying PAH was also calculated. To enhance the SHG intensity of these films, silver nanoprisms were synthesized and deposited onto films using physisorption. An enhancement in the SHG intensity was observed for both PAH/PCBS and PAH/PB films.
Ph. D.

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6

Brownrigg, Mark. "Film music and film genre". Thesis, University of Stirling, 2003. http://hdl.handle.net/1893/439.

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Abstract (sommario):

This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.

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7

Heiman, Christopher James. "LAKESIDE: AN INDEPENDENT STUDENT FILM". Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1313072280.

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8

Audissino, Emilio. "Film music as a film device : a neoformalist approach to the analysis of music in films". Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/414097/.

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In the last ten years there has been a significant shift of interest in film music from Film departments to Music departments. This study seeks to balance the situation and bring film music back into the sphere of action of Film Studies. Film scholars can still give an important specialistic contribution by tackling the music as one of the cinematic devices, and focussing on the analysis of its interplay with the other formal elements of film. In this view, the scope of this study is to develop an approach and a set of analytical tools that serve as a guidance to film scholars to address music in film from their discipline-specific perspective. The analytical approach here offered stems from a mix of Neoformalism – from Film Studies – and concepts drawn from Leonard Meyer's music theories. Neoformalism describes and explains the filmic system focussing on the overall form and style, not only on the interpretation of the film's contents and meanings. In particular, the analysis concentrates on the function(s) and motivation(s) of a series of devices, whose interplay is at the basis of the film's formal system. Being one of the film's devices, music carries out specific functions and responds to specific motivations. Yet, film music is also music. Hence, Neoformalism is coupled with Leonard B. Meyer's theories. According to Meyer the meaning and emotional effect of a tonal piece of music derives from the way in which the composition plays with the listener’s expectations and anticipations, which are based on a shared knowledge of norms and conventions. This interest in norms and conventions and in the psychology of perception links Meyer's studies to Neoformalism. And their common interest in the 'whole,' in formal stabilisation, and closure makes Gestalt Psychology a fitting overarching theoretical framework to integrate Neoformalism with Meyer's musicology. The combination of the micro-configuration of the music and that of the visuals produces a macro-configuration in which the whole is something different from the sum of its parts. In this audiovisual interaction, three areas of musical agency are identified in the film: music can have a perceptive function; an emotive function; a cognitive function. The findings are valuable for both the disciplines involved. To film scholars, it presents film music as a topic that can be handled with more confidence and breadth, because the musicological analysis of the musical text (the score) is not required in this approach. To musicologists, it provides a way to deepen their understanding of and insights into the formal and stylistic ways in which music interacts and combines with the other cinematic components.

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9

Nilsson, Kristian. "Film formation of latex in dry coating films". Thesis, Karlstad University, Faculty of Technology and Science, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1048.

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The objective of this master thesis was to investigate the possibility to measure the gain in stiffness of the dry coating due to film formation of latex with a Dynamic Mechanic Thermal Analyzer (DMTA). This could tell when and to which extent the latex forms a film after the drying process.

Two latices with different Tg was used for the experiments, one with a Tg of 36°C, denoted hard, and the one with a Tg of 8°C, denoted soft. The hard latex was used to make coating samples that would not form a film when dried at room temperature and the soft latex was used as a reference to the coating with hard latex since it would form a film at room temperature.

It was shown that a gain in stiffness due to film formation of latex in coating can be measured with a DMTA. It was also shown that that the film forming of latex in coatings depend on time, temperature and the history of the sample. Further investigations were carried out to try to determine the time for film formation to be completed at a certain temperature.. These investigations showed that this type of trials cannot be carried out in a DMTA directly since the stiffness seemed to increase monotonically during a very ling time. This might be due to the rearrangements in the pigment structure that might affect the gain in stiffness. Therefore, a method involving oven curing was developed. Only one series of test were performed with this method due to lack of time but the method showed promising results.

Syftet med detta examensarbete var att undersöka möjligheten att använda en Dynamic Mechanic Thermal Analyzer (DMTA) för att mäta ökningen av styvhet som följd av filmbildning av latex i en torr bestrykning.

Två olika latexer användes för experimenten, en med Tg = 36°C (hård) och en med Tg = 8°C (mjuk). Den hårda latexen användes för att kunna göra tester på prover som ännu inte filmbildat när de torkat vid rumstemperatur och den mjuka latexen användes för att göra referens prover mot bestrykningen med hård latex.

Resultaten visade att det går att mäta styvhetsökning i bestrykningen som en följd av filmformation med DMTA och filmformation av latex i bestrykningen troligtvis beror på både tid, temperatur och provets historia. Ett försök att mäta vilken uppehålls tid vid en specifik temperatur som krävs för att filmbildningen skall fulländas genomfördes. Dessa försök visade att DMTA:n inte var en lämplig metod för att mäta denna tid då styvheten verkade öka under en längre tid. Detta kan bero på att pigment partiklarna packade sig tätare och på så sätt orsakade en ökning av styvheten. Därför gjordes ett annat försök som involverar ugns härdning, men på grund av tidsbrist blev det bara en mätserie utförd. Den sist nämnda metoden visade dock goda resultat och måste därför bedömas ha en potential.

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10

Poole, Mark William. "Film noir and the films of Christopher Nolan". Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/16688.

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Mestrado em Estudos Ingleses
Film noir has returned as a commercially attractive genre in the last ten years following the success of Pulp Fiction. This thesis discusses the differences of style and content and reasons for these differences between the present incarnation of film noir and its predecessors. As a director whose three feature films to date all contain noir elements, the work of Christopher Nolan is contextualized with that of his contemporaries while the purpose of his expression of these elements is also considered.
O Film Noir regressou como género comercialmente atraente nos últimos dez anos e na sequência do sucesso de Pulp Fiction. Nesta tese tentamos analisar as diferenças de estilo e de conteúdo, e as razões para estas diferenças entre a incarnação actual do Film Noir e a dos seus antecessores. Enquanto realizador cujos filmes até hoje apresentados contêm elementos de Film Noir, a obra de Christopher Nolan é contextualizada com a dos seus contemporâneos, ao mesmo tempo que se analisa igualmente o objectivo da expressão destes elementos.

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11

Alonso-Romero, Sergio. "Metering film hydrodynamics in film coating". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60928.pdf.

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12

Laseur, Carol. "Seeing film: Reading contemporary film culture". Thesis, Laseur, Carol (1998) Seeing film: Reading contemporary film culture. PhD thesis, Murdoch University, 1998. https://researchrepository.murdoch.edu.au/id/eprint/52799/.

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This thesis works towards a revisionist structure of film and film theory in contemporary popular culture. Rather than taking the film text as a 'received object' of analysis, the aim is to foreground certain film texts and the ways of seeing that they demand. The films examined throughout this thesis are positioned as being not merely vehicles for driving theory. Rather, they stand as sites of investigation into the everyday aspects of cinema and popular culture. This work is concerned with the way major theorists of film construct and focus on a classical canon and intends to develop a more lively (questioning) alternative method for film analysis by examining a range of marginal texts in culture: the less mainstream (and straight-to-video) releases, the production and reception of B-grade, exploitation and Aboriginal filmmaking. The latter consists of an indepth analysis of Tracey Moffatt's BeDevil and Anne Pratten's short film Terra Nullius. I also engage with the self-reflexive media aspects of the Gus Van Sant text To Die For. Each of these case studies orients the thesis towards a debate regarding surrealism that allows for a reworking of typical realist norms of narrative film and its canonical status while simultaneously suggesting new ways of connecting (with the text) via filmic ways of seeing; the suggestion being that surrealism is an enduring influence in our increasingly visual and technological age. Integrated within this debate is a discussion of the role of 'framing7 practitioners (the critic, the reviewer and the scholar) in the area of film studies, moving towards an opening out of the possibilities that could be termed post-theory in the age of the image.

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13

Klusák, Martin. "Hudba jako film, film jako hudba". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-358394.

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The core of this work is to search for analogies between different aspects of music composition and film speech in relation to music and film theories and my own compositions and art works. The initial chapter focuses on the terms visual music and synaesthesia. The second chapter is the principal part of the thesis, and compares different parameters of musical composition and film speech and tries to find inspirational influences between these two. In the third chapter I use the previous research to analyze chosen own works.

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14

Nwonka, Clive James. "Has the fire burnt out? : New Labour and the end of British social realism". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/9058.

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This thesis is a retrospective analysis of British social realism. It combines conventional academic research with professional screenwriting practice in the genre. By definition, at its advent Social Realism employed documentary realist devices to explore the inequalities of society with the objective of stimulating socio-political debate about this imbalance and thus social reform. However, contemporary forms of social realism have emerged much more depoliticised, drawing on similar subject matter but using decontextualised narrative strategies. The commitment to truth now seems to consist of an aesthetic, as opposed to a sociological imperative.

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15

Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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16

Mehta, Tanu. "Filmens existens och existentialistisk film : Teorier om film, om film i teorin". Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1845.

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17

Mackay, Ian. "Thin film electroluminescence /". Online version of thesis, 1989. http://hdl.handle.net/1850/10551.

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18

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

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

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19

Camporesi, Enrico. "Reconstruction, Performance, Transmission. Esquisse d’une méthodologie de la restauration du film expérimental et du film d’artiste". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA066.

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Ce travail vise à questionner les outils méthodologiques et les fondations théoriques de l’activité de restauration afin de les appliquer à un corpus d’œuvres souvent laissé aux marges des discours de ce champ disciplinaire : le film d’artiste et le film expérimental. On se focalisera sur les années 1960-1980 pour traiter, entre autres, du travail de Bruce Conner, Carolee Schneemann, Anthony McCall, Paul Sharits. Conçu et organisé comme un dialogue possible entre les exigences de systématisation théorique et les spécificités des œuvres, ce travail défend une méthodologie ouverte et dynamique, à l’instar des objets considérés. Dans le parcours esquissé, qui s’appuie sur des recherches en archives, on traitera de questions de reconstruction textuelle (à partir de la philologie d’auteur), de la performance et de l’installation, de l’intervention sur la matière des œuvres (en problématisant les positions du théoricien de la restauration Cesare Brandi), ou encore de l’obsolescence technologique. En mobilisant des concepts issus de champs différents mais qu’on aimerait considérer ici comme complémentaires (histoire de l’art, esthétique, histoire technique du film), cette recherche tente de décrire l’activité herméneutique sous-jacente à toute entreprise de restauration. C’est à partir de cette hypothèse des liens entre théorie et pratique que l’on envisagera les enjeux spécifiques qui accompagnent la transmission des objets filmiques
This dissertation aims to question the methodological tools and theoretical foundations of the practice of restoration in order to apply them to a body of work often left at the margins of this disciplinary field: experimental and artists’ film. Focusing on the years 1960-1980, it will examine works by Bruce Conner, Carolee Schneemann, Anthony McCall, and Paul Sharits, among others. Conceived and organized as a possible dialogue between theoretical assessment and the practical necessities of specific works, this research defends an open and dynamic methodology of restoration much like the objects herein considered. Through archival research, this dissertation will confront issues of textual reconstruction (starting from literary philology), performance and installation, scholarly debates concerning the materiality of artworks (problematizing the positions of restoration theorist Cesare Brandi), and the question of technological obsolescence. Mobilizing concepts from different fields considered as complementary (art history, aesthetics, the technological history of film), this dissertation seeks to describe the hermeneutical activity underlying any restoration process. It is starting from this hypothesis, which links theory and practice, that it will consider the specific issues accompanying the life of filmic objects
Il lavoro si propone di mettere in discussione gli strumenti metodologici e le basi teoriche dell’attività di restauro, al fine di volgersi a un corpus spesso considerato come marginale nella letteratura scientifica inerente alla disciplina: il film d’artista e sperimentale. Ci si concentrerà in particolare sugli anni 1960-1980 per analizzare, tra gli altri, la produzione di Bruce Conner, Carolee Schneemann, Anthony McCall, Paul Sharits. La tesi, concepita e costruita come un possibile dialogo tra l’esigenza di sistematizzazione teorica e le caratteristiche specifiche delle opere, promuove una metodologia aperta e dinamica, adattandosi dunque agli oggetti considerati. In un percorso che si vuole teorico, ma ugualmente frutto di ricerche in archivio, si tratteranno problemi di ricostruzione testuale (basandosi sulla filologia d’autore), questioni riguardanti la performance e l’installazione, interventi sulla materia delle opere (sulla scorta di una rilettura critica della Teoria del restauro di Cesare Brandi), o ancora il problema dell’obsolescenza tecnologica. La ricerca tende a includere e adattare concetti provenienti da diverse discipline (storia dell’arte, estetica, storia tecnologica del film, qui considerate come complementari), per poter infine descrivere l’attività di restauro come operazione ermeneutica. Muovendo da un’ipotesi di lavoro che unisce teoria e pratica, la ricerca affronta i problemi specifici relativi alla “trasmissione al futuro” delle opere filmiche

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20

Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic". Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1156.

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The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.

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21

Isaacs, Bruce. "Film Cool: Towards a New Film Aesthetic". English, School of Letters, Art and Media, 2006. http://hdl.handle.net/2123/1156.

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Abstract (sommario):

PhD
The influential theorist, David Bordwell, talks about various modes of watching film: the intellectual, the casual, or the obsessive interaction with cinema practiced by the film-buff. This thesis is an attempt to come to terms with film and film culture in a number of ways. It is first an attempt at reinscribing a notion of aesthetics into film studies. This is not an easy task. I argue that film theory is not adequately equipped to discuss film in affective terms, and that instead, it emphasises ways of thinking about film and culture quite removed from the act of film ‘spectating’ – individually, or perhaps even more crucially, collectively. To my mind, film theory increasingly needs to ask: are theorists and the various subjectivities about whom they theorise watching the same films, and in the same way? My experience of film is, as Tara Brabazon writes about her own experience of film, a profoundly emotional one. Film is a stream of quotation in my own life. It is inextricably wrapped up inside memory (and what Hutcheon calls postmodern nostalgia). Film is experience. I would not know how to communicate what Sergio Leone ‘means’ or The Godfather ‘represents’ without engaging what Barbara Kennedy calls the ‘aesthetic impulse.’ In this thesis, I extrapolate from what film means to me to what it might mean to an abstract notion of culture. For this reason, Chapters Three and Four are necessarily abstract and tentatively bring together an analysis of The Matrix franchise and Quentin Tarantino’s brand of metacinema. I focus on an aesthetics of cinema rather than its politics or ideological fabric. This is not to marginalise such studies (which, in any case, this thesis could not do) but to make space for another perspective, another way of considering film, a new way of recuperating affect.

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22

Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance". Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15999/1/Rosalind_Nugent-Williams_Thesis.pdf.

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Abstract (sommario):

"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.

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23

Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance". Queensland University of Technology, 2004. http://eprints.qut.edu.au/15999/.

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Abstract (sommario):

"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.

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24

Lhoták, Vladimír. "Film a média /komunikační strategie celovečerního filmu v médiích/". Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78610.

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This Master diploma thesis has an objective to explore the environment of Czech and international medias and to compare it with the needs of Czech feature film promotion. It describes behaviour of the Medias and its? recipients and the possibilities of using the knowledge for more efficient communication of feature films. The marketing communications resources are used in order to find out its applicability for a feature film. The feature film is defined as a product on the market, the issue of the feature film as a cultural product and it?s attributes is viewed through the marketing communication optic. For the development of an efficient communication strategy the knowledge of it?s means and recipients is necessary. It is important to describe Czech media environment, to define concrete communication channels and to make an attempt to explore their relevance and efficiency. The efficiency is connected to the reaction of focus groups; the thesis describes their definition and the research methods of the communication effect on them. Wisely chosen creative concept for different types of films, genres, focus groups or business goals is for an efficient communication indispensable. The thesis tries to describe how to use artistic features of the film for efficient communication effect. The topic of cooperation with advertising agencies in various states of the creation of the film is analyzed. It covers the issue of the feature film as a communication media itself and its potential in the communication campaigns (including the product-placement). Following part is dedicated to practicing the medial communication on the Czech market. The attention to the Czech films in the Medias follows and the means of influencing the Medias are described. The Public Relations topic is covered as a phenomenon of the most used mean of feature film communication. The phenomenon of publicity of film festivals as an independent communication channel is described. The description of internationally important film Medias follows. The thesis shall be helpful to the Czech producer of the feature film to discover which means of communication the media market offers to promote a feature film.

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25

吳兆康 e Siu-hong Ryan Ng. "Film Complex: resuscitation of film in commercial society". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984770.

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26

Abusabee, K. M. "Thin film engineering for transparent thin film transistors". Thesis, Nottingham Trent University, 2014. http://irep.ntu.ac.uk/id/eprint/127/.

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Abstract (sommario):

Zinc oxide (ZnO) and Indium Gallium Zinc Oxide (IGZO) thin films are of interest as oxide semiconductors in thin film transistor (TFT) applications, due to visible light transparency, and low deposition temperature. There is particular interest in ZnO and IGZO based transparent TFT devices fabricated at low temperature on low cost flexible substrates. However, thermal annealing processes are typically required to ensure a good performance, suitable long term stability, and to control the point defects which affect the electrical characteristics. Hence there is interest in post deposition processing techniques, particularly where alternatives to high temperature thermal treatments can be utilised in combination with low temperature substrates. This thesis presents the results of a series of experimental studies as an investigation into photonic (excimer laser) processing of low temperature ZnO and IGZO thin films deposited by RF magnetron sputtering and/or by high target utilisation sputtering (HiTUS), to optimise the microstructure and electrical properties for potential use in thin film electronic applications. ZnO thin films were grown at various deposition parameters by varying oxygen flow rates, RF power, oxygen concentration, and growth temperatures. Subsequently, the films were subjected to three different annealing processes: (i) Thermal Annealing (furnace): samples were thermally annealed in air at temperatures ranging from 300 °C to 880 °C for 1 hour. (ii) Rapid Thermal Annealing: samples were annealed in nitrogen and oxygen environment at temperatures of 600 °C, 740 °C, 880 °C, and 1000 °C, and dwell times of 1-16 s. (iii) Excimer laser annealing: samples were annealed at ambient conditions using a Lambda Physik 305i 284 nm, 20 ns pulse KrF excimer laser with a beam delivery system providing a homogenised 10 mm x 10 mm uniform irradiation at the sample plane. Processing was undertaken at fluences in the range of 0 to 350 mJ/cm2 at single and multiple pulses. IGZO thin films were also investigated following RF magnetron deposition without intentional substrate heating and at various other deposition conditions, followed by laser processing in air at laser energy densities in the range of 0 to 175 mJ/cm2 with single pulse. Processed ZnO films were characterised by room temperature photoluminescence excitation which exhibited that laser annealing at high fluences resulted in suppression of the observed visible deep level emission (DLE) with evolution of a strong UV near band emission (NBE) peak, indicating a reduction of intrinsic defects without film degradation or materials loss that occurred by thermal and rapid thermal annealing. Also the intensity of the NBE peak was strongly influenced by the films growth temperature, with the results showing that as the growth temperature increased beyond ambient; the intensity of the resultant NBE peak decreased as a function of laser energy. TEM studies demonstrate that laser processing provides a controlled in-depth crystallisation and modification of ZnO films. Therefore, laser processing is shown to be a suitable technique to control the crystal microstructure and defect properties as a function of two lasers processing parameters (fluence, number of pulses) - realising optimised film properties as a localised region isolated from the substrate or sensitive underlying layers. In terms of electrical properties, the results indicated a significant drop in sheet resistance as a function of laser anneal from highly resistive (>5 MΩ/sq.) to about 860 Ω/sq. To produce IGZO thin films without intentional substrate heating with lowest sheet resistance as a function of laser processing, low deposition pressure, low oxygen concentration, and high RF power are required. Room temperature Hall effect mobility of 50 nm thick IGZO increased significantly as the laser energy density increased from 75 mJ/cm2 to 100 mJ/cm2 at single pulse reaching values of 11.1 cm2/Vs and 13.9 cm2/Vs respectively.

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27

COMBES, LAURENCE. "Du film allemand au film "europeen" (1933-1943)". Université Marc Bloch (Strasbourg) (1971-2008), 1994. http://www.theses.fr/1994STR20023.

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La presente these du film allemand au film "europeen" (1933-1943) decrit l'evolution des institutions et de la legislation relatives au cinema. Parallelement, les relations internationales sont prises en consideration; elles se caracterisent par la participation allemande a de nombreux festivals expositions et congres nationaux et internationaux. L'attitude passive ou active de l'allemagne permet de determiner la politique esterieure suivie. L'entree en querre ne va qu'accelerer un processus d'appropriation des moyens de production. En 1942, la ufa-film gnbh (ufi) gere le grand marche europeen du film allemand
This thesis from german to "european" film (1933-1943) describes the evolution of the institutions and legislation partaining to the cinema. In a parallel manner, international relations are taken into consideration, they are characterized by german particiaption in nemerous festivals, exhibitions and congresses, both national and international. The passive or active attitude og germany makes it possible to determine the external policy adopted. The ourbreak of the war will only accelerate the process of appropriation of the means of production. In 1942, the ufa-film gmbh manages the great european market of german film

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28

MacDonald, Richard Lowell. "Film appreciation and the postwar film society movement". Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515288.

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This thesis is an inquiry into the aims of the postwar film society movement. Film societies provided an organised alternative to commercially run film exhibition: screens and audiences for films overlooked by cinemas and opportunities to study and discuss them within voluntary associations. The thesis assesses the movement's contribution to both these objectives, focusing in particular on its promotion of film appreciation, a set of educational ideas and practices associated with training film viewers' capacity for film critical judgement. Tracing shifts in film appreciation as a discourse and as film society practice centred on screenings and discussion, the thesis contributes to our understanding of what film studies has been in Britain. It argues that appreciation connotes a cultural ambition specific to the postwar moment, broad social participation in discussion of cinematic value. The thesis brings together research into the activities of individual societies, specifically through detailed studies of the Edinburgh Film Guild and Birmingham Film Society, with a focus on the practices and publications promoted by the Federation of Film Societies that aimed to construct a cohesive movement from disparate societies. The values nurtured by self-organised film education bodies are explored through the ideal of active participation, embodied in the membership relationship, across a spectrum of film cultural activity: exhibition, education and criticism. The self-image of the film society movement was also that of a vanguard in taste and knowledge. The thesis traces the pressures on this self-conception during a period of radical shifts in judgement associated with emergent critical and educational vanguards fostered in particular by the professionalisation of film teaching. The thesis argues that although this professionalisation created new forms of film society pedagogy it also introduced an ever-widening divide between informal learning, premised on membership exhibition and discussion, and specialised film studies in formal education.

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29

Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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30

Blose, Chris. "Ideas in action : film theory in film criticism /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421115.

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31

Jovičic, Zoran. "Video - film". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2009. http://www.nusl.cz/ntk/nusl-232206.

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32

Šrámek, Jan. "Animovaný film". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2009. http://www.nusl.cz/ntk/nusl-232237.

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33

Fox, Neil James. "How film education might best address the needs of UK film industry and film culture". Thesis, University of Bedfordshire, 2014. http://hdl.handle.net/10547/575401.

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Abstract (sommario):

This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.

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34

Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s". Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.

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35

Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

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Abstract (sommario):

In light of the specific challenges of assessing a thesis film—a project which contains artistic and academic components—the author examines his own short film For Want Of as a prototype for future work in film and as an opportunity for introspective investigation into the nature of filmmaking and personal artistic process. Reference is made to specific episodes during the film’s conception and production, as well as higher-level insight gained from following the film through an 18-month production cycle.

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36

Suttle, Helene. "Thin film vapour barrier systems on vacuum-planarized polyester films". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555308.

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The work contained in this thesis examines how the properties of gas barrier materials may be affected by the choice of deposition technique, substrate material, and surface treatment. The performance of barriers with respect to the requirements for the optoelectronics industry was studied, along with an appraisal of the metrics used to assess barrier levels. Polyester films were coated with aluminium oxide by reactive sputter deposition in an industrial-scale research web coater. The transparency and stoichiometry of coatings was achieved by control of the reactive gas supply levels, and the deposition configuration in the web coater. Target poisoning, which leads to low deposition rates, was controlled by balancing the inert and reactive gases and by changing the reactive gas supply locations. Barrier properties of the films were found to be affected strongly by the choice of power supply. By using a method of depositing many thin layers of AIOx sequentially to build up a single layer, it was possible to extend the region of high barrier performance out to thick coatings of several hundred nanometres and thus create very high barrier materials. PEN (polyethylene naphtha late) film was used as a substrate material for all samples. It is a good candidate for use as a substrate for barrier films due to its excellent thermal, mechanical, and barrier properties. The use of surface treatments to minimise the effect of substrate surface features was examined. It was found that for coating thicknesses greater than 50 nm the surface smoothing layers did not improve barrier properties, and coated films with no smoothing layer performed better in water vapour transmission tests. Fragmentation tests showed that the barrier performance of films was greatly affected by the adhesion between the substrate and aluminium oxide coating. Various methods for measuring barrier film properties were studied in this work. The standard steady-state test for gas transmission rates was compared with the non-standardised calcium test. Organic photovoltaic (OPV) devices were encapsulated with barrier films to measure to what extent they act as a barrier to contaminants such as water vapour and oxygen. In a separate experiment, a component material of the OPV devices, poly(3-hexylthiophene) (P3HT), was used successfully in encapsulation tests where its degradation was measured using UV-vis-nIR spectrometry.

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37

Smith, Justin T. "Cult films and film cults in British cinema 1968-86". Thesis, University of Portsmouth, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429782.

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38

Lathrop, Benjamin A. "Cult films and film cults : the evil dead to Titanic /". Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090934488.

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39

Dahlgren, Anna. "Pervasive Film : Mobil, interaktiv och platsberoende film, en fallstudie". Thesis, Södertörn University College, School of Communication, Media and it, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3665.

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40

Strömberg, Daniel. "Film om film : En analys av dokumentärfilmer om fiktionsfilmer". Thesis, Linköping University, Department of Thematic Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2044.

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Abstract (sommario):

This thesis is a study of documentaries about fictional feature films. The development of the DVD format has contributed strongly to their massive increase in quantity. The capacity of the format enables film companies to include more material than the feature film itself. As some people regard this type of documentary as self-righteous and presumtious, others think of it as a great educational aid giving the audience a greater understanding of the intentions of the director and others involved, thus adding more levels to the experience of watching movies. By using established theory on documentary I’m trying to find distinctive features of ‘documentary on fiction’.

I uppsatsen studeras dokumentärfilmer som behandlar spelfilmer. Det är en företeelse som växt starkt i och med lanseringen av det nya videoformatet DVD. Formatets kapacitet har möjliggjort att man kunnat inkludera mer material än bara själva filmen. Idag är det nästan självklart att man på något sätt dokumenterar arbetet med en film, men man gör det på många olika sätt och med olika syften. Det finns många åsikter om denna typ av dokumentär. Vissa röster hävdar att de endast kan vara självförhärligande och partiska, medan andra anser att de ger fiktionsfilmer ett större djup och tittaren en ökad respekt och förståelse för verket.

Jag vill med min undersökning hitta kännetecken för dokumentärfilmer om fiktionsfilmer och detta gör jag med hjälp av etablerad dokumentärfilmsteori. Genom analysen diskuterar jag bland annat filmernas funktion, problematik och relation till fiktionsfilmen.

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41

Weerakkody, Tecla G. "Physical characterisation of latex film formation and film properties". Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/843739/.

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In this work, physical characterisation of film formation and film properties of coating and adhesive formulations was performed. Organic/inorganic nanocomposite coatings draw remarkable academic and industrial interest, due to their expected enhancement of combined properties. Film formation and film properties, such as drying, transparency, and final film quality of coating systems containing Laponite clay were studied, in particular the influence of excess surfactant on the drying process. It was found that excess surfactant in the system does affect the physical characteristics of the film formation process. Experiments using magnetic resonance profiling and photographs found lateral flow of liquid from the edges to the centre. Reducing the amount of surfactant in the system improves film quality by reducing lateral flow during film formation. In pressure sensitive adhesive (PSA) applications, such as labels or tapes, it is vital that the films remain optically transparent, regardless of the exposure to high humidity or water. Core/shell PSAs were investigated to determine their drying, water whitening, moisture absorption from high humidity, and adhesive properties. The dependence of these properties on pH and poly (acrylic acid), PAA, was studied. It was found that the hydrophilic pathways created by PAA shells do not contribute to faster drying. In addition, this investigation disproves the idea that a "hairy layer" of PAA keeps the film more open and leads to faster drying. It was found that films with hydrophilic boundaries absorbed more water. The water is evenly distributed along the boundaries, so that films still retain their transparency. It was proved that transparency or water whitening is not necessarily a reliable measurement of water uptake, at least for this system. The findings from this study define guiding principles for organic/inorganic nanocomposite coatings and core/shell PSAs, to have better film formation characteristics and film properties.

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42

Di, Crosta Marida. "L' interface-film : vers une narratologie du film actable". Paris 13, 2007. http://www.theses.fr/2007PA131019.

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Abstract (sommario):

Le film actable incarne de manière emblématique la complexité de la relation entre cinéma et interactivité. L’informatisation des dispositifs fictionnels narratifs reconfigure les rapports entre l’univers de la narration et le contexte réel extradiégétique. Par le truchement du programme informatique, ces nouvelles formes de production narrative permettent la permutation intermittente et conditionnée des instances narrateur-narrataire. Fictionnel mais non immersif, diégétique plutôt que mimétiques, le film actable ouvre la voie à une coopération narrative originale, instrumentalisée et médiatisée, où la logique structurant l’action se déplace et devient métanarrative. Le travail d’analyse contextuelle actante « colle » aux objets de l’étude et parvient par la répétition méthodique d’usage à rendre compte des pratiques signifiantes dans la dynamique de la réception interactive. En appliquant certaines catégories analytiques de la narratologie à ces dispositifs hybrides, notre recherche montre que l’interactivité permet non seulement de séparer, mais aussi de réunir, sur de nouvelles bases, des modes communicationnels et représentationnels spécifiques à chaque média. La portée communicationnelle, cognitive et esthétique du film actable se situe au niveau de la visée narrative de son écriture audiovisuelle, dans l’architecture scénaristique de son interface. Parce que le système-interface décompose, modélise mais aussi synthétise des opérations factuelles et cognitives des deux côtés de l’écran, il produit l’effet de les « narrativiser ». Espace de production des actes narratifs et de leur interprétation, niveau de l’échange communicationnel entre des matériaux expressifs pluricodiques et le spectateur, l’interface est le film
Interactive film embodies the complex link between cinema and digital media. The computerization of narrative fictional devices reconfigures the relationships between the diegetic world and the extradiegetic level. By means of the computer software, these new forms of narrative works allow periodic and controlled shifts between narrator and narratee. Fictional but not immersive, diegetic rather than mimetic, the interactive film opens the way to a computerized narrative cooperation. Thus the logic structuring action moves upwards and becomes metanarrative

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43

Solbrig, Heide Frances. "Film and function : a history of industrial motivation film /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3142448.

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44

Lu, Tianyi. "Film language: use of film language in narrative cinema". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13064.

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Abstract (sommario):

Film language is a method of narrative expression, which promotes the development of narrative and plot. Film languages are very important methods in filmmaking, when used properly they make a film successful. In this thesis, I explore three film languages – camera shots, moving cinematography, lighting and colour. They are all important methods that promote and express the film narrative. Filmmakers use these film languages, to give a film aesthetic value. I consider how filmmakers use film language to express the narrative of their films, based on film theories exploring the similarities and differences between two films and analysing six different films by different filmmakers in total. They include – TomTykwer’s Run Lola Run, Danny Boyle’s Slumdog Millionaire, Baz Luhrmann’s Australia, Doze Niu’s Love, Wong Kar-wai’s In the Mood for Love, and Peter Chan‘s Comrades: Almost a Love Story. My research shows that film languages are very important to filmmakers. When used properly, filmmakers make their audiences feel unexpected aesthetic enjoyment. Film languages are used to effectively promote or express the film narrative, which would otherwise be lost. As a filmmaker myself, this research has helped me to figure out film shooting and editing aspects in my own film projects.

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45

Hall, Kenneth E. "Mountain Men on Film". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5447.

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46

Camargo, Sandy. "Once more with feeling : film genre and emotional experience /". free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.

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47

Nováková, Hana. "Přírodovědný dokument jaký není a měl by být". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371136.

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In a form of essay and on a sample that encompasses all main documentary genres, the thesis tries to answer, how and why analyzed natural history films became canonical, and what 's the reason that most of other topical production of wildlife documentaries have no chance to raise any deeper interest. Finally suggests potential inspirations for the desirable paradigmatic shift.

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48

Hope, Cathy, e n/a. "A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry". University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.

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Abstract (sommario):

This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.

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49

Carter-Hansen, Jill, University of Western Sydney e of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride". THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

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Abstract (sommario):

This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon
Master of Arts (Hons)

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50

Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S". Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.

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Abstract (sommario):

Thesis (M.A.)--University of Kentucky, 2002.
Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).

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Tesi sul tema "Film"

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