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The Internet and digital technologies have created an opportunity for documentaries to find new audiences; however, documentary's capacity to overcome the challenges that the online market presents and achieve sustainability is not yet understood. This study brings together research in the areas of new media and documentary in order to comprehend and assess the significance of the growing overlap between the two. Focusing on documentary distribution post-2000, in the United States and the United Kingdom, the thesis examines how the online market has influenced both the culture of documentary and the economic structure of the methods used to distribute documentary films. This involves an exploration of the rise of digital media in relation to its impact upon the film industry and a historical review of the changes that have occurred within the documentary marketplace. The core analysis takes the form of a case study approach that sets out to identify trends in documentary distribution and generate insights into the new models that both documentary platforms and filmmakers have employed. What this research suggests is that documentary distribution via the Web requires a new framework for thinking about how films reach audiences and generate revenues. In particular, it indicates how audience engagement from the onset of production can help documentaries overcome challenges in the online market. In line with participatory media trends, the research confirms that distribution has become more than just a mechanism for content dissemination and that, in the digital age, distribution has developed as a social phenomenon, which expands through ongoing public . involvement and innovation. However, the research also indicates that alternative distribution strategies that rely upon leveraging communities must be uniquely adapted to each project and its particular core audiences. This means that there is no singular, overarching theory or replicable model that characterises the online distribution process for documentary films. Thus, the thesis adds to our knowledge of the diverse ways in which documentary has inhabited the social space offered by new media while ancho~ing existing theories of 'social media' within specific contexts. 3

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Within this thesis I primarily explore the notion of aesthetic innovation in the cinema. Whilst I initially intended to develop two case studies, considering films associated with two cinematic trends - the Hollywood Renaissance and Dogme 95 -the finished thesis concentrates on Bonnie and Clyde, which exemplifies the first of these. The focus entails an elaboration of the concept of innovation, adopted from economic approaches, in terms of the implications of the concept for how innovation should be analysed. In particular, this informs my focus upon the articulation of recognition of innovation, and hence discourses of innovation. In investigating the recognition of innovation in Bonnie and Clyde, I provide a detailed critical reception study, analysing the contemporary and retrospective reviews and critical accounts of the film. I develop the functional and systemic linguistic analysis of M.A.K. Halliday to underpin a workable discourse analysis approach to the contemporary reviews. I also consider the wider reception of the film, particularly in relation to the dialogues around the reviews of the film by Bosley Crowther in the New York Times. Thus, I consider the significance of the contestation around the film - in terms of its evaluation, classification and description. I consider this 'event' of the widespread contestation around the film, and the turnaround by several noted critics, and contrast the conclusions of my analysis of the event with the conventional narrativization of it. In order to consider the aesthetic characteristics of the film, I provide definitions of cinema aesthetics, adapting the notions of aesthetic norm, function and value from Jan Mukarovsky. I also develop these in relation to the concept of aestheticization, which I relate to Bonnie and Clyde and other films of the Hollywood Renaissance. The thesis constitutes an original elucidation of the notion of innovation, and an innovative application of discourse analysis to reception study.

Cette thèse est une étude de la consommation des films pornographiques de 1990 à nos jours, et de la manière dont elle a pu affecter la sensibilité générale des spectateurs et celle de certains artistes du cinéma ordinaire fascinés par le spectacle du sexe. L’augmentation exponentielle du nombre de films pornographiques accessibles au public (de la production professionnelle de longs métrages à la fabrication amateure de courtes séquences) et la généralisation de leur consommation via notamment les nouvelles technologies, obéissent cependant à des règles précises (partie 1). En passant de la salle de cinéma au salon, la charge subversive et choquante du film pornographique s’est transformée sans s’atténuer. La visibilité de la consommation du film pornographique s’accompagne de l’invisibilité publique du spectacle du sexe. Ce dernier est devenu majoritairement une affaire privée. Elle prend au sérieux la capacité d’action du film sur le spectateur et la nécessité pour ce dernier, étant donné son caractère dérangeant et le plaisir coupable qu’il induit, de le maîtriser, de l’apprivoiser, de le domestiquer. Le souci de soi du pornophile explique à la fois le déplacement du point de vue du législateur et de celui des éducateurs, de la censure du « film X » à la nécessaire protection du mineur (partie 3), et la prise en compte par les artistes du cinéma classique des jeux du sexe dans les jeux de l’art (partie 2). Plus généralement, l’étude interroge la transformation de la sensibilité des spectateurs, qu’ils soient amateurs du genre, indifférents ou opposés à ce dernier. Le constat d’une normalisation du film pornographique ne s’entend pas comme une banalisation morale du « film X » mais comme un déplacement du regard porté sur le spectacle du sexe et sur ses usages. Le transfert de culpabilité du regard public à la conscience de soi est neutralisé par la domestication du film pornographique. Elle permet aux amateurs du genre de passer de l’excitation sexuelle mécanique à la maîtrise des jeux du corps et des techniques du plaisir sexuel (partie 3). / This thesis focuses on pornographic films’ consumption from 1990s to the present day, and how it may have affected viewers general sensitivity and impacted ordinary film artists fascination for sex show. The exponential increase in the number of accessible pornographic films to the public (including professional production of feature films and amateur production of short sequences) and the generalisation of their consumption via new technologies in particular, which nonetheless, comply with precise rules (part 1). As we moved from cinema viewing to the living room one, the subversive and shocking charge of pornographic film transformed itself without diminishing. The visibility of pornographic films consumption is parallelly accompanied by sex show public invisibility. Indeed, sex spectacle has mainly become a private matter. It takes seriously the film's ability to act on the viewer and the need for the latter, given its disturbing nature and the guilty pleasure it induces, to control, tame and domesticate it. Society adaptation to sex spectators self-respect got materialised through legislation and education adaptation, which includes a reconsideration and massive shift in “"X films" censorship and new awareness toward minors protection (part 3), and the consideration by classical film artists of sex games in art games (part 2). More generally, the study questions the transformation of spectators' sensitivity, whether they are amateurs of the genre, indifferent or opposed to it. The observation of a normalization of pornographic film is not understood as a moral trivialization of "film X" but as a shift in the focus on the spectacle of sex and its uses. Guilt transfer from public gaze to self-awareness is hence, neutralized by the domestication of pornographic film. It allows lovers of the genre to move from mechanical sexual excitement to mastering body games and sexual pleasure techniques (part 3).

Cette thèse propose une réflexion autour de la relation entre le dessin animé et le cinéma en prises de vues réelles, en faisant reposer le propos sur l’étude d’une forme cinématographique hybride, présentant un entremêlement ou encore une rencontre entre personnages graphiques et acteurs réels. Cette recherche interroge, du cinéma des premiers temps aux expériences plus contemporaines, l’évolution d’une forme reposant sur une frontière technique constamment mouvante au gré d’innovations technologiques et de perspectives théoriques historiquement variables. En s’intéressant tout autant aux films qu’à leur réception et leur contexte de production, l’objectif est de de mettre à jour et de comprendre les raisons pour lesquelles l’animation se trouve perçue à l’heure actuelle, à la fois comme une forme radicalement différente de la prise de vues réelles, rattachée à une institution qui lui est propre, et à la fois comme une forme potentiellement assimilable au cinéma photographique, en particulier dans le cadre de certains films à effets spéciaux. L’enjeu est de creuser les racinesde cette relation singulière, de cette scission-assimilation comme nous choisissons de la nommer, qui s’explique selon des modalités à la fois historiques, théoriques et esthétiques, et que la forme hybride permet de mettre particulièrement en évidence. Notre objectif est d’analyser, à travers l’évolution de cette forme et l’usage qu’en dévoilent les films, l’émergence d’une séparation plus esthétique, discursive et institutionnelle que véritablement ontologique entre ce que divers mouvements historiques et entreprises théoriques ont pu contribuer à définir, tout au long de l’histoire du cinéma, comme deux régimes de représentation aussi séparés que potentiellement assimilables / This thesis proposes a study about the relation between animated cartoons and live-action cinema. We base it on the study of a hybrid cinematic form, presenting a mix or an encounter between graphic characters and real actors. This research tries to question, from early cinema to more contemporaneous experiments, the evolution of a form resting upon a technical frontier always moving at the whim of technological innovations and theoretical perspectives historically variables. While interesting ourselves as much in the films than in their reception and their production context, the objective is to reveal and understand the reasons why animation is seen, nowadays, equally as a form radically different from live-action, linked to an institution of its own, and equally as a form potentially assimilable to photographic cinema, particularly in the case of films based on special effects. We aim to dig in order to find the roots of this singular relation, of this scission-assimilation aswe chose to name it, that we can explain through historical, theoretical and aesthetical modalities, particularly lighten by the hybrid form. Our goal is to analyze, through the evolution of this form and its use revealed by the films, the emergence of a separation more aesthetical, discursive or institutional than really ontological between what several historical movements and theoretical enterprises have contributed to define, throughout the history of cinema, as two systems of representation as well separated than potentially assimilable

This practice-led PhD project consists of two sections: the first examines a breakdown of the components of film genre to be used as practical guideposts for my own creative practice as a screenwriter and (hopefully in the future) for other screenwriters; the second section contains my practical application – first acts of three screenplays that are constructed utilizing my research and subsequent assessments. Using a theoretic construct presented in the area of philosophy in the 1990s by cognitive theorist Gilles Fauconnier called ‘mental space’, a concept exploring a person’s natural inclination to construct a comprehensible idealized cognitive model (ICM) of any given situation in order to understand his or her role in it (Fauconnier 1994:8), I examine how Fauconnier’s concept can be applied to building a film narrative and specifically how it can be applied to a screenwriter’s understanding and breaking down of the components of film genre. I also employ the work of scholars focused on the audience’s reception, especially the reception of film genre. In the practical section of my practice-led PhD, the writing of the first acts of three screenplays that share location, similar core cast of characters and plot points but are constructed in three distinctly different film genres (western, horror, romantic comedy), I endeavor to apply elements I have termed the ‘mental space of film genre’ in order to determine the adjustments and changes necessary to move narrative from one genre to another in order to fulfill various genre perimeters and genre expectations. This work is meant to increase a screenwriter’s technical skills in the craft of screenwriting.