Thesis submitted 1967; degree awarded 1968. Thesis (M.S.)--Boston University, 1968. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This thesis is a study of the development of documentary films in Jamaica from 1938 - 1966, what has been accomplished, and how it has been achieved, as well as a critical analysis of the present situation and recommendations for improvements. The study should be of value to the country as it is the first that has been attempted in this particular field, and one of the few to be attempted by a Jamaican in the many areas of the country's development. [excerpt from Introduction]

The film industry in Mainland China has grown rapidly in the 2010s, and in particular, local crime films have emerged over the past decade as a unique cinematic phenomenon that epitomizes China’s political and cultural system and social realities. As little is known about this phenomenon in the West, this thesis would provide a comprehensive review of the history of Chinese crime cinema, with a focus on the development and characteristics of the genre in the 2010s. The introduction defines the object and scope of the study, and briefly introduce the context of the Chinese film industry. The first chapter outlines the different forms of crime films in Mainland China before the 2010s, the strict content censorship in China, and the impact of Hong Kong and Korean films on Mainland Chinese cinema. The second and third chapter reviews selected Chinese crime films released from 2011 to 2020, and interpret in detail the influential ones. The conclusion summarizes the overall trends, commonalities and current status of Chinese crime cinema.

This thesis is the encounter of a process of academic investigation with a theoretical survey and an artistic practice, which attempts to account for my experience in comprehending, studying and adapting the novel Os Flagelados do Vento Leste, by Cape-Verdean writer Manuel Lopes, to the stage. Concerning its structure, the thesis can be divided into three parts: firstly, I perform a historic survey of Cape Verde and its literature, mainly that which concerns Manuel Lopes and the aspects of Cape-Verdean history that are explored in his novel. Secondly, I seek to achieve a theoretical survey on the topic of adaptation. In this part of my thesis, I broaden the discussion beyond the realm of theater, believing that a discussion on mediatic adaptation should take into consideration all mediums. For this reason, I write about the complex process of adapting from literature to theater or cinema, focusing a lot of my discussion on cinematographic adaptations. Mediatic adaptation as a general process is the focus of my discussion during this part of my thesis, seeking to better comprehend it. Finally, I end this thesis with my adaptation to the stage of Os Flagelados do Vento Leste, which I believe to be the fruit of my academic as well as artistic contribution to this thesis.

Visceral Data is a short documentary formatted for 360-cinema (commonly referred to as virtual reality or VR) that explores the integration of art and science, and how aesthetically creative treatments of raw data are an engaging way to interpret complex information. With Roger Malina, executive editor of Leonardo, the world's foremost academic journal for the intersections of art, science, and technology, providing a narrative overview of the subject, six art-scientists/science-artists discuss specific pieces of their artistic output to provide examples. As Roger Malina asserts, civilization is "going through an epistemological revolution as deep as the Copernican Revolution," and as we progress further into the 21st century, we will need hybrid professionals working in the arts and sciences to help humanity navigate through the age of big data.

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No / As this collection makes abundantly clear, the concept of “World Cinema” can be hard to define. To further establish a sensible definition of what “cult world cinema” might be is to stretch, contort and confuse understanding even further. Scholars have made bold attempts at defining what “cult cinema” might be that range from the “informal” to the “intertextual” by way of the “subcultural”. For instance, Karl and Philip French’s notion of cult as an “intense personal interest and devotion to a person, idea or activity” sought to access the devotional, sacramental aspect of engagement with cinema (French and French 1999: 6). A study by Jancovich and colleagues argued that it is the reception of films and their distinction from, and opposition to, the “mainstream” that defines films as “cult” (Janovich et al. 2003: 2). Mathijs and Sexton (2011) later promoted a rich, intertextual sense of what cult cinema might be, while admitting that because the numerous attempts at defining cult cinema approach the subject from the perspective of the vernacular—“highlighting elements that cannot be caught in a description”—any definition of cult cinema must be tantalisingly “intangible” and “intersubjective” (Mathijs and Sexton 2011: 6).

Yes / This text discusses the films of French director Albert Lamorisse in relation to the poetics of cinema. It focuses on three of Lamorisse’s films, Crin Blanc (1953), Le Ballon Rouge (1956) and Le Vent des Amoureux (1978), in order to examine his fascination with wind, a force of nature, due to its invisibility, that is virtually impossible to capture on film. Certain French theorists, however, have tried to explain the power of the wind, most notably Gaston Bachelard, whose works are quoted here as part of the analysis, while a few distinguished filmmakers, such as Joris Ivens and Andrei Tarkovsky, have used wind in interesting ways. But only Lamorisse had what could be described as a sustained obsession. Despite early success (the great French film theorist André Bazin was praiseworthy about his short films), Lamorisse has been somewhat neglected in recent years. Thus, this essay highlights the unique skills of a ‘forgotten man’ of French post-war cinema.

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