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Bibliografias temáticas / Motion picture industry – Australia – History / Teses / dissertações

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Teses / dissertações sobre o tema "Motion picture industry – Australia – History"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 1 de fevereiro de 2022

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1

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-50)." Connect to this title online, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050317.111523/.

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Thesis (Ph. D.)--University of Wollongong, 2002.<br>Title from PDF title page (viewed on Aug. 14, 2005). Ill. in print version lacking in electronic version. Includes bibliographical references (p. 285-301).

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2

Urquhart, Peter. "1979 : reading the tax-shelter boom in Canadian film history." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85211.

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More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the cultur

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3

Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.<br>Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

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4

Hope, Cathy. "A history of the Sydney and Melbourne Film Festivals, 1945-1972 negotiating between culture and industry /." Connect to this title online Connect to this title online (alternate address), 2004. http://cicada.canberra.edu.au/public/adt-AUC20050630.130907/.

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5

Cork, Kevin James, of Western Sydney Nepean University, and Faculty of Humanities and Social Sciences. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales." THESIS_FHSS_XXX_Cork_K.xml, 1994. http://handle.uws.edu.au:8081/1959.7/684.

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Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available record

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6

Boden, Susan, and n/a. "'an unsettled state': the real and the imainary in Australian cinematic and designed landscapes." University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.

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This thesis considers varied representations of landscape in Australian narrative film and designed landscape. Landscape is taken as an active concept that combines the associative meanings of place and the dynamism of space. Sixteen film and designed landscapes are examined to derive their landscape sources, forms and ideas, using the methodology of 'contextual poetics', Each of these landscapes is considered under a specific theme: landscape as delight, absence, nation or hope. In addition to detailing specific landscape responses by the designers of the examined landscapes, this project aim

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7

Kontour, Kyle, and n/a. "Making culture or making culture possible : notions of biculturalism in New Zealand 1980s cinema and the role of the New Zealand Film Commission." University of Otago. Department of Communication Studies, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.140943.

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In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in

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8

Li, Yan 1959. "The Chinese Film Industry After 1976." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.

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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 19

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9

黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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10

Sa, Neto Arthur Autran Franco de. "O pensamento industrial cinematografico brasileiro." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285100.

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Orientador: Jose Mario Ortiz Ramos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T03:27:30Z (GMT). No. of bitstreams: 1 SaNeto_ArthurAutranFrancode_D.pdf: 11882720 bytes, checksum: db30cbb6ee1df82ebd19160092a2442e (MD5) Previous issue date: 2004<br>Resumo: Esta tese versa sobre o pensamento industrial cinematográfico brasileiro no período que vai de 1924 a 1990. Partindo da constatação da centralidade para o meio cinematográfico das discussões em tomo da formação de uma indústria de cinema no Brasil e de que esta nunca ch

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11

Davis, Blair. "The 1950s B-movie : the economics of cultural production." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.

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The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.<br>B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had

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12

Ahearn, John P. (John Patrick). "A History of Contemporary Independent Film Marketing in the United States (1989-1998)." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277701/.

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This study explores the reasons for the rise in independent film's popularity, which have created a unique Hollywood phenomenon, the successful "mini-major" independent studio, dedicated to both art and commerce. Chapters cover the history of independent film, characteristics of both independent and mainstreamfilms with regards to financing, acquisition, distribution and marketing, trends within independent film in the late 1980s and 1990s, crucial distributors and landmark independent films, and key growth areas in the future for independent film.

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13

Wong, Lam Cheng. "Development of Japanese influence on Hong Kong film industry through Hong Kong newspaper, 1950-1979." Thesis, University of Macau, 2015. http://umaclib3.umac.mo/record=b3335318.

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14

Brown, Anna Marie. "Cinerati." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.

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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insul

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15

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

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16

McKenzie, Susan M., and n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.

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This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely

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17

廖志強. "<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration". HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.

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18

Petrocelli, Heather Oriana. "Portland's "Refugee from Occupied Hollywood": Andries Deinum, his Center for the Moving Image, and Film Education in the United States." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/608.

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Two years after Dutch émigré Andries Deinum was fired from the University of Southern California in 1955 for refusing to cooperate with the House Un-American Activities Committee, he moved to Portland, Oregon to teach film courses through the Portland Extension Center. By 1969 he had become integral to the local film community and had formed Portland State University's Center for the Moving Image (CMI), where he and Tom Taylor taught film history, criticism, and production for the next thirteen years. Although CMI was eliminated in 1981 as part of PSU's financial exigency, CMI's teachers and s

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19

Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.

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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through

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20

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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21

Hooton, Fiona Art History &amp Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.

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This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting

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22

"The evolution of Hong Kong as a regional movie production and export centre." Chinese University of Hong Kong, 1993. http://library.cuhk.edu.hk/record=b5887805.

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by Grace Leung Lai-kuen.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.<br>Includes bibliographical references (leaves 120-124).<br>Preface --- p.ii<br>Abstract --- p.iii<br>Contents --- p.iv<br>Chapter Chapter 1. --- Introduction --- p.1<br>Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5<br>Chapter i) --- An Anomaly to Media Imperialism<br>Chapter ii) --- Inadequacies of Non-Marxists Theories<br>Chapter iii) --- Analytical Framework<br>Chapter iv) --- Research Questions and Research Design<br>Chapter Chapter 3. --- Hong Kong as a Regional Movie Product

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23

"Hollywood of the East: the rise and fall of the Hong Kong film industry since the 1970s." 2011. http://library.cuhk.edu.hk/record=b5896691.

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Shin, Kei-Wah Victor.<br>"November 2010."<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 177-198).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Acknowledgments --- p.iv<br>Table of Contents --- p.vi<br>List of Tables --- p.ix<br>List of Figures --- p.xii<br>Chapter Chapter 1: --- Framing the Puzzles --- p.1<br>"INTRODUCING: ""The Curious Case of... a Fallen 'Asian Hollywood'""" --- p.3<br>METHOD AND DATA --- p.6<br>STRUCTURE OF THE THESIS --- p.12<br>Chapter Chapter 2: --- "“The Blind Side"" of Existing Expla

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24

Heiduschke, Sebastian. "The afterlife of DEFA in post-unification Germany: characteristics, traditions and cultural legacy." Thesis, 2006. http://hdl.handle.net/2152/3438.

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25

Burgess, Diane. "Canon busting?: approaching contemporary Canadian cinema." Thesis, 2000. http://hdl.handle.net/2429/10361.

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This thesis explores contemporary Canadian cinema by investigating the convergence of films, policy and criticism as they are implicated in the idea of canon. Both fluid and multiple in its frame(s) of reference, the term canon extends beyond a list or core of privileged texts to include the processes of evaluation. Posited as a performative construct, the national cinema canon can be seen as offering a strategically deployed expression of national cultural identity, with appraisals of each film's value arising from the intersection of critical and governmental discourses; however, narro

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26

Edwards, Kyle D. "Corporate fictions: film adaptation and authorship in the classical Hollywood era." Thesis, 2006. http://hdl.handle.net/2152/3764.

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27

Falk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.

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28

Karam, Beschara. "Putting a future into film : cultural policy studies, the Arts and Culture Task Group and Film Reference Group (1980-1997)." Thesis, 1997. http://hdl.handle.net/10413/6155.

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Cultural policy studies, or studies in the relations of government and culture (Mercer, 1994) were initiated in Australia in the 1980s, where cultural studies have been reinterpreted into a dialogue of policy-making and cooperation between the government and academia (Cunningham, 1994; Hunter, 1993/1994; Molloy, 1994; Santamaria, 1994). This Australian-pioneered "cultural policy moment" (Cunningham 1994; Hawkins, 1994) thus provides an epistemological starting point for an analysis of cultural policy developments in South Africa, especially after 1994. Early South African cultural policy studi

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