The 1970s have been largely seen as the starting point of a period of crisis for Italian cinema, marked by the increasing financial difficulties of its film industry and the gradual dissolution of its long and authoritative tradition of political engagement. This thesis interrogates this rhetoric of crisis and assesses the impact of the political and social unrest of this period on cinema. Its focus is on gender. In particular, it demonstrates how masculinity repeatedly functions in a number of films of this period as a crucial component in the articulation of critical commentaries about the nation and its socio-political lacerations. This thesis places films in their historical context and in relation to contemporary debates about politics, national identity and gender. It assesses the impact of these debates on cinematic representations of masculinity and examines the strategies used by a number of filmmakers to make sense of the social upheavals of the 1970s. The thesis develops an understanding of the characteristics, functions and implications of a number of cinematic narratives about men and their dilemmas at this particular historical moment. Through in-depth analysis of selected films, this thesis examines the rhetoric of male crisis of the 1970s and explores its relation to anxieties about modernization, the sexual liberation movements and the legacy of 1968. Each chapter shows how Italian cinema of the 1970s develops a commentary on the sociopolitical conflicts and tensions of this period through male points of view. This thesis examines the limits of this gendered perspective as well as some of the opportunities that it raises for understanding questions of agency and gender power in relation to the cinematic medium. Finally, it assesses the political potential for resistance and dissidence of some of these films and the way in which they attempt to challenge dominant gender paradigms of cinematic visibility.

This thesis is a study of the representation of class in English film culture which focuses primarily on films and written texts produced between 1978 and 2002. My approach to these representations takes the work of Ellen Meiksins Wood on the theoretical principles of historical materialism as its most general methodological guide. Thus, I seek to place representations of class within a conceptual framework which, like the one found in Wood's work, puts emphasis on approaching class as a relational and conflictual social phenomenon lying at the heart of capitalist society. Such a move involves establishing a dual-focus on both images of class and capitalism. Consequently I seek to embed my examples of the representation of class within a characterisation of the contemporary moment of capitalism as a specifically neo-liberal one. Related to this joining of the perspectives of class and capitalism is my attempt to explore, in the context of contemporary film and film criticism, Wood's historical thesis that Englishness forms the `pristine culture of capitalism'. Her idea that cultures of Englishness exaggerate class understood as an identity, and at the same time conceal its dynamic role as an antagonistic relationship central to capitalism, has determined my focus on an English rather than a wider, British cinema. The material for study has been drawn from diverse areas - examples of mainstream and experimental film are discussed here, as are different forms of criticism and literature. However, the intention is not to provide a systematic overview of national film production or patterns of criticism during this period, but rather to generate distinctive readings of films and critical texts from the particular historical materialist conceptualisation of class, capitalism and English referred to above.

Cyflwynir yn yr ymchwil hwn bum awr ac ugain munud 0 raglenni dogfen a ffilmiwyd ar fformat clirder uchel ac a gafodd eu darlledu yn ystod 2006 - 2008, ynghyd a rhagymadrodd sy'n trafod hanfodion y ffilm ddogfen. Ceir hefyd gofnodiad 0 darddiad, datblygiad a dylanwad y ffilm ddogfen gyda gwerthusiad 0 ddylanwad yr arloeswyr cynnar. Yn ogystal, cyflwynir gwerthusia5! <:> rol, dyletswydd a dylanwad y cyfarwyddwr fel stonwr a hanesydd, gan gyflwyno nofel fer 40,000 0 eiriau, 185 tudalen, a gafodd ei chyhoeddi ym 2008, ac sydd yn ffurfio rhan o'r gwaith ymchwil. Cafodd y thesis ei ysgrifennu law yn lIaw wrth gyfarwyddo'r rhaglenni dogfen, Yn y rhan gyntaf ceir rhagymadrodd, sy'n adrodd hanes yr ysgogiadau hynny a oedd yn fan cychwyn y rhaglenni dogfen, eu cynnwys a beth oedd y bwriad fel cyfarwyddwr wrth fynd ati i'w cynhyrchu. Felly hefyd y nofel gyfoes sydd wedi cael ei lIeoli ym Mhacistan ac yn Affganistan yn ystod y rhyfel a gychwynnodd yn 2001. Fe gyflwynir trafodaeth am gefndir hanesyddol y ffilm ddogfen ac archwiliad o'i sefyllfa bresennol. 8ydd pob rhaglen yn unigol yn cael ei thrafod ynghyd a dadansoddiad o'r gwaith creadigol a'r dylanwadau arnynt. Fe geir dadansoddiad beirniadol o'r gwaith creadigol gan archwilio'r amryw ffyrdd y gall stor"iwr, boed yn nofelydd sy'n ymdrin gyda ffuglen, neu yn gyfarwyddwr ffilmiau dogfen ffeithiol, ddylanwadu, neu gyfeirio a lIiwio profiad y darllenydd neu'r gwyliwr.

This thesis explores how post-cinematic theatre and film, a subgroup of intermedial artistic practice, can be seen to deconstruct cinematic conventions and the expectations associated with them, offering a broader spectrum of perceptual choices for the spectator. By means of post-structuralist analysis I argue that, through an 'lnterinvolvement' of theatre and film, these pieces investigate the perceptual habits of cinematic experiences and foreground what Hans-Thies Lehmann calls a 'politics of perception'. This foregrounding of the 'politics of perception' is not concerned with an exposition of political content or "messages" but rather with stimulating an awareness of the political and ideological factors underpinning the spectator's perceptual choices. In chapter It I draw on Jean-Francois Lyotard's thoughts on Acinematic montage to explore the deconstruction of cinematic aesthetic pleasures and the jouissance of perception in Station House Opera's A Mare's Nest and Roadmetal Sweetbread and The Wooster Group's House/Lights. In Chapter III the focus of my analysis shifts towards considerations of the ethico-political factors of perception, where I engage with Emmanuel Levinas' work on ethics to explore the deconstruction of cinematic perception in Katie Mitchell's Wunschkonzert. In Chapter IV, I look at the disorientation of cinematic perception in Imitating the Dog's Hotel Methuselah by using of Lyotard's concept of the 'disorienting landscape' and the political implications concerning totalising perspectives. Finally in Chapter V, I look at the moral implications of perceptual choices in lars van Triers Dogville through Jacques Derrida's concept of aporias. The case studies represent a spectrum of dynamics in the combined use of theatre and film, ranging from heavily theatrical examples such as The Wooster Group's House/Lights to van Trier's Dogville which is essentially a film with a theatrical set. Throughout I argue that the immediate and/or retrospective experience of the interinvolvement of theatre and film is instrumental in foregrounding the politics of perception and thus the significance of intermediality within these pieces.

"Leadership" is treated as a constant, given, virtue in our society. We expect leadership to be exercised in every sphere of human society, including the Ministry of Defence, secondary schools, the United Nations, and even the Church of England. But there appears to be no clear, concise and universally accepted definition of the term. Are we reduced to treating leadership like "obscenity" in Justice Stewart's famous definition: "we know it when we see it"? When the secular literature of leadership is examined, the only unanimity displayed is in disagreement about the sources, character and expression of leadership. This has not prevented the Church from attempting to promote "managerial-leadership" as a necessary skill for its minsters: in doing so, the Church has created something that might be called "missional-Ieadership". Neither idea represents the real source of leadership in our society, "mythological-leadership" . I examine the continuing power of myth in our culture, along with the way in which myth is transmitted by popular cinema in three categories: cinemas of "affirmation", "repudiation", and "reassertion". None disputes the basic model of the mythological leader: the man (and he is invariably a male) from outside, who comes into a community in a time of peril, defeats the evil and transforms the community by the (reluctant) exercise of violence, finally refusing any status the community wishes to confer upon him, and leaves, mortally wounded. Finally, I ask: is "leadership" no more than a useful sociological tool in the professionalization of the Church's ministry and mission? Is it, on the other hand, fatally compromised by its origins in violence and the will to power? Here the importance of Dietrich Bonhoeffer is once more presented, as a man who recognized the temptations of leadership and yet was able to assert, and model, a faithful Christian discipleship.

The aim of this PhD thesis is to unravel the long lake's significance as a meaningful act of cinematic expression, The enquiry focuses on how the long take, which is defined as a single shot with an unusually long duration, affects a viewer’s experience of a film's fictional world and its characters, The project is grounded in a consideration of key writing on and around the subject of the long take, This account reflects upon the diversity and interconnectedness of these analytical approaches. In conjunction with this, a close reading of four films Indicates that the long take imbues the camera with a sense of presence in the fictional world, Consequently, it is argued that the concept of embodiment - both the camera's and the spectator's - has the potential to radically re-define how we understand the long take. Through the production of a seventeen minute film, the practice component of the research explores how the embodied conditions of spectatorship structure our experience of long take sequences. Knowledge is to be gained on the long take through a l.)Burgeoning awareness of the camera. By reasoning that the camera has a body in the fictional world a new perspective is formed on the long take. This study contends that the long lake is a potent mode of cinematic expression, one that harnesses a film's ability to invoke embodied forms of understanding in our viewing experience.

The main topic of this research project is the film adaptation of Samuel Beckett's play Comedie (1966), directed by Marin Karmitz in collaboration with Beckett. The research methodology employed is both theoretical and practical, yielding a written thesis, and a video/audio installation piece. Interdisciplinary in scope, the research encompasses aspects of film and theatre studies, . literary studies, fine art, music and philosophy, and seeks to fill a significant gap in Beckett scholarship by carrying out the first major study of the film adaptation of Comedie, as well as producing an original artwork in response to it. The theoretical side of the project utilises a diverse range of critical, literary and philosophical material to construct a thorough analysis and interpretation of a range of interconnected themes and concepts to be found within Comedie, within the stage- play from which it derives, and within several other relevant works of cinema. The practical element of the project is concerned with further developing and exploring many of the concepts expounded in the theoretical research, through the creation, manipulation and juxtaposition of video and audio material. The research employs a pragmatic and eclectic approach to critical theory and practice, and does not seek to impose any single critical or ideological framework onto its subject, initiating instead a degree-zero analysis in which an engagement with the subject gives rise to a philosophical approach that is broadly post-foundational. Such an approach means that relativism, paradox and aporia become overarching themes throughout the project, concomitant with a simultaneous recognition and rejection of binary logic. In this way, the research does not propose any all- encompassing theories about the work it addresses, but probes the multiple and often paradoxical meanings that arise from its engagement with space, film structure, the film screen, musical form, and the human voice, head and face.

The exhibition of British and Hollywood film adaptations of English literature has been one of the most significant cinema trends in Korea. Despite the growth of academic attention to British and Hollywood literary adaptations from the late -, 1990s, there has been virtually no research on the Korean reception of such literary adaptations. The purpose of this thesis is to map how literary adaptations, and especially Shakespeare films and film adaptations of English novels, have established a particular cultural presence in Korea; I therefore look at the historical and cultural contexts in which these films have circulated, examine the inter-textual relations between literature and film, and describe the reception of such literary adaptations by the press and by academic audiences. My investigation of the historical reception of British and Hollywood literary adaptations, particularly during the period from the mid-1980s to the mid-2000s, thus deals with both the industrial and commercial contexts in which literary adaptations have circulated, but also the ways in which they have impacted upon Korean culture in the process of reception. I focus in particular on key aspects of the critical reception of literary films in the Korean press and by the specialist audience of Korean scholars and academics, noting the impact of debates about such literary adaptations on academic developments in Korean universities. My research into academic negotiations between film and literature looks at the key issues, and themes identified by Korean scholars and academics who have considered film as pertinent to academic discourse, adopting a variety of critical perspectives and contributing to academic debates about the diversity of cultural representation. In this vein, my thesis maps how film adaptations of English literature have become' a significant cultural development in the Korean context.

This dissertation starts from the premise that the legacy of Austrian film exiles in the British film industry from 1933 through to the end of World War II and beyond has been largely neglected. Their contribution to production methods, to professional training and to technological development has often been ignored. In fact, Britain can be considered the country benefiting most from the diaspora of Continental film personnel. The dissertation explores in what way the influence of exiles can be appropriately assessed. The fact that the number ofemigres in the British film industry increased dramatically after 1933 does not necessarily entail that their actual influence increased accordingly. Influence can be assessed at the level ofreceptiOIi, in other words what films, stars and directors attained the greatest number of audiences and/or critical attention, and at the level ofproduction, including specific studio t practices. As far as the 'influence' on narrative content and visual style is concerned, only a thorough analysis of individual cases and a study of production practices can establish how far 'authorial' control among emigres actually extended. Consequently, it is necessary to tum to a number of specific case studies to explore and dissect the role of Austrian exiles: Paul L. Stein (director), Robert Neumann (author and screenwriter), Wolf Suschitzky (director of photography), Carl Esmond (actor), Peter Lorre (actor), and Rudolph Cartier (director and producer). In analysing their contribution to British film, this dissertation sets out to problematise the often-made assumption that their 'cultural baggage' and/or professional training in German film enabled them to successfully employ these experiences in the UK.

Between 1957 and 1973, the expressions and technologies of cinema came together with those of the nascent digital computer, establishing the so called universal machine as a cinematic machine, at a time when the potential forms and functions of this technology were still far from certain. This exchange anticipated the more recognised emergence of digital cinema, in the decades after 1973, and this study comprises a newly charted history, or pre-history, outlining the beginnings of digital cinema. The precise process by which the digital computer was negotiated by cinema represents, and played a part in, a broader shift in the social and symbolic status of the digital computer: from initial emergence as a commercial entity, in the 1950s (represented, on the level of thematic engagement, by the 1957 film Desk Set, arguably the first to represent a digital computer in recognisable form and to deal with the attitudes and anxieties that surrounded the increasing uses of this machine in society), to its subsequent proliferation, in the 1960s (encompassing the fervent experimentation of scientists and film-makers, often in collaboration, at sites beyond those typically associated with moving image production, as the digital computer was pioneered as a visual, aesthetic, and interactive machine, alongside further films concerned with this technology on the level of subject matter, whether as a tool for technocracy, in the 1965 film Alphaville [Alphaville, une etrange aventure de Lemmy Caution], or as a source of artificial intelligence, in the 1968 film 2001: A Space Odyssey), and its further absorption within society and the symbolic order (as Hollywood arrived at a use value for the digital computer, with the 1973 film Westworld, for which this machine was used both as a tool for the production of moving images, now subsumed within classical narrative norms, and as the basis for its narrative). It is this period and this process that we might collectively term the beginnings of digital cinema, an engagement that anticipated an era in which the digital computer would come to occupy a central position throughout much of society, not least in the realm of cinema. By considering this subject in detail for the first time, and in bringing together perspectives on films about digital computers and those produced using this same machine, this study outlines the conceptual and technological developments that anticipated the widespread use of the digital computer in cinema, both as subject matter and as means of production.