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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 7 of 7 (0.052 seconds)Spelling suggestions: "subject:"apocalypse now"" "subject:"apocalypses now""
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Polyphonic conversations between novel and film : Heart of darkness and Apocalypse now ; Na die geliefde land and Promised land / Toinette Badenhorst-RouxBadenhorst-Roux, Toinette January 2006 (has links)
This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between
Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land.
Specific Bakthinian concepts are employed to determine whether the films are "apt"
adaptations of the literary texts; how the stylistically hybrid texts engage in conversation
with different movements, genres and trends; how the polyphonic conversations
between different texts and discourses, such as literature and film, or colonialism and
postcolonialism, can provide insight into the variety of discourses, textual and
ideological, of a postcolonial, post-apartheid South Africa; and how identity crises
experienced by key characters can be explained using the notions of hybridity, "The
Marginal Man" and liminality. All four texts have key characters that experience identity
crises that spring from cultural hybridity; their cultural hybridity has the potential to either
render them marginally stagnant or lead them to liminally active participation within their
imagined communities.
This dissertation argues that even though there are major differences between the films
and the literary texts they are based upon, they are relevant to a specific target audience
and therefore enrich the ur-texts. Salient characteristics of realism, symbolism,
impressionism, modernism, postmodernism, postcolonialism and the apocalyptic
dialogise one another within the four texts, thereby liberating the texts from one authorial
reading. The dialogue between the discourses of literature and film supplement an
understanding of the dialogue between war, imperialism, colonialism, postcolonialism
and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006
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Polyphonic conversations between novel and film : Heart of darkness and Apocalypse now ; Na die geliefde land and Promised land / Toinette Badenhorst-RouxBadenhorst-Roux, Toinette January 2006 (has links)
Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006.
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Polyphonic conversations between novel and film : Heart of darkness and Apocalypse now ; Na die geliefde land and Promised land / Toinette Badenhorst-RouxBadenhorst-Roux, Toinette January 2006 (has links)
This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between
Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land.
Specific Bakthinian concepts are employed to determine whether the films are "apt"
adaptations of the literary texts; how the stylistically hybrid texts engage in conversation
with different movements, genres and trends; how the polyphonic conversations
between different texts and discourses, such as literature and film, or colonialism and
postcolonialism, can provide insight into the variety of discourses, textual and
ideological, of a postcolonial, post-apartheid South Africa; and how identity crises
experienced by key characters can be explained using the notions of hybridity, "The
Marginal Man" and liminality. All four texts have key characters that experience identity
crises that spring from cultural hybridity; their cultural hybridity has the potential to either
render them marginally stagnant or lead them to liminally active participation within their
imagined communities.
This dissertation argues that even though there are major differences between the films
and the literary texts they are based upon, they are relevant to a specific target audience
and therefore enrich the ur-texts. Salient characteristics of realism, symbolism,
impressionism, modernism, postmodernism, postcolonialism and the apocalyptic
dialogise one another within the four texts, thereby liberating the texts from one authorial
reading. The dialogue between the discourses of literature and film supplement an
understanding of the dialogue between war, imperialism, colonialism, postcolonialism
and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006
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The legacy of Wagner's Der Ring des Nibelungen as reflected in select late twentieth- and early twenty-first-century film mediaBridges, Rose Elizabeth 17 March 2016 (has links)
Richard Wagner is one of the most important and influential composers for scholars of film music. His concept of the Gesamtkunstwerk or "total art work," which combined music, visuals and storytelling, played an indelible role in the creation of film aesthetics, especially with regard to music and sound design. Yet, Wagner's actual music has its own curious legacy in film history, in terms of how it is used to interact with a story that often bears no relation to those of Wagner's operas. This is particularly interesting with regard to the Der Ring des Nibelungen (aka "the Ring Cycle"). The Ring is his most ambitious and influential, and densest work, and perhaps the one with the greatest lingering legacy in popular culture. For example, "Ride of the Valkyries," an excerpt from Die Walküre made famous by Looney Tunes shorts and Francis Ford Coppola's Apocalypse Now, is still a frequent presence in film, television and advertising that want to evoke sounds of war and conquest--associations created more from its use in those contexts than the original opera.
This thesis will examine films and television series of the last half-century that have used musical examples from the Ring in their soundtracks. Works given particular focus will include Apocalypse Now (1979), the Japanese anime series Princess Tutu (2002-2003) and Terrence Malick's historical romance The New World (2006). The examination will discern both how film media has influenced modern cultural perceptions of the original operas--and of Wagner's legacy in general--and also how said film media is itself a reflection of modern attitudes about Wagner and his masterwork.
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Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse NowNguyen, Nguyet, 1980- 12 1900 (has links)
xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This comparative semiotic study aims to examine and critically compare the
portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other
American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse
Now. This study employs semiology to examine the two films in the framework of postcolonial,
ideology and hegemony theories to critically compare similarities and
differences in the two films' portrayal of "the enemy," nationalism and individualism,
and women, in order to understand how dominant perspectives of the times are reflected,
reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an
imperialistic standpoint toward the Vietnamese people; nationalism is promoted by
calling on individual suffering and sympathy; and women are diminished. Canh Dong Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with
individualism; and the women in the film play a much more significant role. / Committee in Charge:
Dr. H. Leslie Steeves, Chair;
Dr. Pat Curtin;
Dr. Gabriela Martinez
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Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans stationLjung, Bo January 2018 (has links)
Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm. Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan? Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet? Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö. Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse. Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.
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Det omättliga ögatLjung, Bo January 2020 (has links)
This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
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