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La ricerca è incentrata sul rapporto tra cinema e scienza e sul ruolo della cinematografia come strumento di ricerca scientifica: si articola in due parti storicamente distinte, ma al tempo stesso strettamente correlate da una riflessione critica sul ruolo delle immagini in movimento rispetto al tema comune a entrambe della visualizzazione e rappresentazione del non osservabile nella realtà fisica. / The research is focused on the relationship between cinema and science and the role of cinematography as an instrument of scientific research. It consists of two parts historically distinct but at the same time related by a critical reflection on the common issue of the visualization and representation of non-observable physical reality.

La tesi riguarda il processo evolutivo dell’industria cinematografica italiana dal momento della sua prima espansione (biennio1906-1908) fino allo scoppio della I guerra mondiale. In particolare il lavoro si è concentrato sulle vicende societarie e produttive di una delle maggiori case di produzioni attive in Italia nel periodo preso in esame: la Milano Films. Le ricerche relative alla società milanese hanno portato al rinvenimento di una cospicua quantità di documenti finora inediti, attraverso i quali è stato possibile ricostruire nel dettaglio la vicenda societaria e produttiva della casa di produzione. Lo studio ha inoltre analizzato le peculiarità specifiche che, tra il 1908 e il 1914, contraddistinguono la cinematografia italiana dal punto di vista degli assetti societari e finanziari, dell’organizzazione produttiva, delle strategie distributive e commerciali, attraverso un costante confronto con il complessivo quadro industriale italiano coevo e, in particolare, con quei settori produttivi considerati più all’avanguardia nei primi anni del Novecento. / This work looks at the development of the Italian cinema industry from its first period of growth (1906-1908) up until the outbreak of World War One. More specifically, this work examines the corporate and cinematic evolution of Milano Films, one of the largest production houses in Italy in those years. Research into this Milanese company brought to light a whole host of as yet unpublished documents that made it possible to produce a detailed reconstruction of the corporate and cinematic events involving this company. Maintaining the focal period as 1908 to 1914, this work also looks at the specific nature of the Italian cinema industry in those years, exploring its corporate and financial structure, productive organisation, distribution and marketing strategies. This required constantly comparing this industry to Italian industry in general at that time and, in particular, to those productive sectors that were seen to be at the cutting-edge in the early 20th century.

<p> This dissertation describes the emergence and expansion of U.S. government motion picture work over the first four decades of the twentieth century. It situates the early history of federal filmmaking within the long progressive drive to reshape representative government into a more active proponent of the welfare of its citizenry and argues that despite reigning critiques to the contrary, institutional sponsorship actually gave social meaning and efficacy to this mode of social documentary. Indeed, I argue that U.S. government film production can be understood as a kind of social activism that was simultaneously propelled and limited by the contours of the federal bureaucracy. Envisioning government film work as &ldquo;bureaucratic activism&rdquo;&mdash;with all the power as well as the inefficiencies, entrenched rigidities, red tape, politics and establishment loyalties implied by the term &ldquo;bureaucratic&rdquo;&mdash;is useful here. It helps capture the contradictory nature of a pragmatic enterprise that actively and optimistically sought social change from within the confines of the status quo. </p><p> Federal films are examined in this history as spaces of complex negotiation&mdash; as points of contact between the structure(s) of the American democratic state and the imaginings of progressive bureaucrats about both their relationship to that state and its relationship to its citizens. Relying largely on original research in little-mined federal collections, I argue that the interpretations of social problems and solutions attempted in and by these film texts represent more than attempts to bolster institutional authority and reinforce the status quo (though, of course, they were such attempts). These aims were mediated by a will&mdash;evident both within the film texts and in the extemporaneous correspondence of their administrators and producers&mdash;to explain or justify such authority claims by literally and figuratively visualizing them as not arbitrary but rather in the interest of nurturing or protecting the common good. Federal films, seen in this way, don&rsquo;t automatically obviate social change but instead represent attempts to relate social change to the ideal of democratic government. Viewed in the context of the specific change initiatives they were produced to aid, federal films were reflections of and on democratic governance itself.</p>

<p> Trans men have been the subject of many empirical studies in recent years that focus primarily on their engagement with masculinity within interaction. By highlighting the experiences of trans men, researchers argue that the persistent and often invisible experiences of gender inequality, specifically those of cisgender women, are made more visible. While scholars studying trans men in these scenarios categorize these interactions under the general heading of doing gender, I argue that these studies highlight experiences of doing cisgender, defined in this paper as individuals' accomplishment of gender within interaction according to cisnormative standards. However, the generalized moniker of doing gender is complicit in the marginalization of trans individuals' experiences of gender because it marks the dominant gender identification, cis, as the unnamed norm and eclipses trans-specific experiences of gender. While understanding how trans people do cisgender is an important contribution to the literature, I argue that doing cisgender is one component of trans people's experience of doing gender. My primary contention in this paper is that trans people also do transgender; that is, they are held accountable to transnormative standards that police and enforce the medical/legal/social access to trans as an identity category. To illustrate the differences between doing cisgender and doing transgender, I conduct a qualitative content analysis of nine documentary films featuring trans men, highlighting instances in the films of trans men doing cisgender and doing transgender.</p>

Writer, producer and director Wes Anderson’s unusual and idiosyncratic films take place in world which seems to be entirely his own. Often anachronistic and highly stylized, the Andersonian universe looks like little else being shown in contemporary cinemas. Yet, Anderson is also one of the most allusive filmmakers working today. Littered throughout his oeuvre are endless allusions to films, directors, authors and books which have had significant influence on Anderson as an artist. In fact, Anderson’s films can only be fully appreciated when viewed through the lens of his many sources, since his films emerge as he carefully collects, compiles and crafts his many influences into a sort of collage. In order to understand how this dichotomy operates in Anderson’s work I examine the influence of several key directors, authors, and films. Through this study I show that one of the things that make Anderson unique is the very way in which he interacts with the sources to which he is alluding. It is his uncommon ability to weave homage and critique together which makes him a truly allusive auteur.

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<p> This dissertation explores how the heroines in Hayao Miyazaki animations subvert the antiquated, patriarchal models of the conquering hero that predominate Western literature and cinema. As unifying agents of change, such heroines use communal solutions to conflict by rejecting militarism, refuting stereotypical gender roles and reversing environmental destruction. Five Miyazaki animations are reviewed: <i>My Neighbor Totoro, Spirited Away, Howl's Moving Castle, Princess Mononoke and Nausicaa of the Valley of the Wind.</i> The protagonists in these films undertake a voyage of balance inspired by Shinto animism and Japanese mythological traditions that reflect the heroine's journey schema and the individuation process that is the zenith of depth psychology. I argue that Miyazaki heroines are not solely aligned with Jungian theories of the anima as a contrasexual projection of a male, but rather as the spark of life that ignites the storyline. </p><p> The intention of this work is to examine the role of the anima rich heroine by drawing upon the depth psychological theories of James Hillman, Hayao Kawai, Marie- Louise von Franz, Ginette Paris and Christine Downing. At the same time, Miyazaki heroines are contrasted with the Disney princesses that reinforce traditional heterosexual norms and other pop culture protagonists that support androcentric order. </p><p> To attain a holistic vision of the world, the Miyazaki heroine must overcome the patriarchal constructs of her society that would otherwise disempower her. Such heroines exert their strength of character through compassionate understanding of the oppositional characters within the film story rather than viewing them as foes to be destroyed. Miyazaki heroines discover equilibrium of self by meeting their unconscious shadow aspects and positively integrating them instead of projecting them negatively onto others. </p><p> The anima rich, complex heroine in Miyazaki animations is a transformative protagonist that represents an emerging heroic and mythic model for a global community in transition. Drawing from soul more than ego, she contributes to an evolving collective psyche that bears the potential to heal and reshape this nascent post-patriarchal world.</p>

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