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Throughout the twentieth century, Hollywood has often looked to Broadway for dramatic material, and this trend has continued into the 1980s. Hollywood adaptation significantly alters the message and the ideological dimension of the original play. By choosing four plays which contain strong ideological messages and by comparing them with their adaptations, this study aims to discover the extent to which and how these plays are transformed. Since the transformation generally involves a weakening of the plays' political or social message, the comparative analysis attempts to reveal how the dilution of message is achieved. / Chapter I establishes semiotic methodology as a tool for the analysis. The theories of theatre semiotics proposed by Keir Elam and Martin Esslin concentrate on the ideological dimension of theatrical signs. The analysis of film will employ the feminist theory which designates the Hollywood film as an imaging system which objectifies women, together with Bill Nichols's theory on the ideological aspect of genre films. Chapter II discusses the aspects of feminist theatre in 'night, Mother and Crimes of the Heart. The film versions of these plays are compared with the original plays in Chapter III, in order to explore how feminist messages are diluted in the adaptation through the use of conventional Hollywood cinematography. Chapter IV examines the message of the impossibility of genuine human relationships in Sexual Perversity in Chicago and the political messages concerning the deaf in Children of a Lesser God. Chapter V, dealing with the film versions of these plays, discusses how the Hollywood genre film fractures and dilutes the political messages of the original plays by imposing conventional narrative structure. The semiotic analysis in each chapter leads to a conclusion in Chapter VI: in the first two films, the transformation and dilution of the messages are achieved largely by the conventional use of cinematic language, while in the latter films the change of structure and the imposition of the genre frame affect the ideology. / Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2306. / Major Professor: Karen L. Laughlin. / Thesis (Ph.D.)--The Florida State University, 1989.

There are two things that most people know about the ‘video nasties.’ The first is that prior to 1984 the video industry was completely unregulated and the absence of any regulation allowed a space for immoral and disreputable elements of the businesses to thrive. The second is that a series of public complaints about the advertising used to promote the ‘video nasties’ triggered a moral panic that led to introduction of the Video Recordings Act in 1984. Neither of these statements is entirely true, but both have allowed a popular history to persist that continues to hold the independent distributor directly accountable for the events that led to a scheme of government sanctioned censorship that continues to this day. Through exploring the marketing and distribution of the ‘video nasties’, this thesis will challenge this established history and will contextualise the ‘video nasties’ within the emerging landscape of the wider home video industry. Moving beyond the explicitly social readings that have dominated these histories and that have positioned them as an explicitly British concern, this study offers a reading that considers the ‘video nasties’ as part of, and not separate from, a broader global film industry and wider industrial practice. This will be accomplished over three sections. In the first section I will detail the established social history before reconsidering the accuracy of this narrative when it is considered alongside a previously neglected economic and technological history. This context will provide the foundation for the rest of the thesis, providing a basis that reconceptualises the ‘video nasties’ both historically and as part of wider film markets. In the second section I will return to the claims made against the promotional strategies of the early distributors and historicise this type of promotion, tracing a lineage to the ballyhoo of William Castle and the early promotions of P.T Barnum. This will provide context for a study that considers the marketing and branding of both the films and the companies that produced them, following the market through Video, DVD and Blu-ray. The final section documents the evolution of both the product and the marketplace, considering how theoretical constructs arising from film studies can help us understand the marketplace of the ‘video nasties’. The thesis is a revisionist history that reconsiders the birth of the independent video industry in the United Kingdom through the films and distributors that were marginalised and castigated.

Partindo da importância dos eventos culturais para a dinamização e projecção das cidades, e focalizando em concreto os festivais, a presente dissertação aborda o caso do Festival Internacional de Curtas Metragens de Vila do Conde (uma cidade de pequena dimensão na Área Metropolitana do Porto) e procura analisar e interpretar a sua repercussão na cidade, e, ao mesmo tempo, na política cultural local. A estratégia teórico-metodológica começa por enquadrar o presente trabalho nos estudos que têm vindo a ser realizados a propósito dos eventos culturais e dos seus impactos. Procedeu-se a uma breve caracterização de Vila do Conde; descrição da génese do evento, seus antecedentes e ramificações; enquadramento da política pública de apoio ao evento, nomeadamente por parte da Câmara Municipal de Vila do Conde; entrevistas com agentes/promotores culturais locais, procurando perceber o seu funcionamento e articulação com a política cultural do município, assim como a representação que fazem do FICM. Tendo em conta as estratégias desenvolvidas pela organização do FICM, visando a sua divulgação junto da comunicação social e a formação/captação de públicos, foi realizado um levantamento das notícias publicadas sobre o Curtas nos principais jornais diários nacionais e imprensa local (total de 906 artigos). Por outro lado, promovemos uma análise de conteúdo a um conjunto de 36 notícias, seleccionadas com o propósito específico de perceber a evolução do registo discursivo por parte dos jornalistas ou críticos de cinema em relação ao Festival. Realizámos ainda um inquérito online de auscultação da repercussão do Festival, e entrevistas com editores de cultura de dois jornais e com Dario Oliveira, da organização do evento. (...)

O que separa o género de ficção do documentário? Quais as características que identificam o documentário? Na nossa investigação, o que nos propomos é dentro do objecto cinematográfico, procurar identificar os códigos de um género específico. O documentário. Através de exemplos na cinematografia de cinema de documentário vamos tentar identificar as estratégias que um autor/realizador encetou no desenvolvimento do seu filme. Quais as etapas que teve de passar para atingir o resultado final.

Austrian-born composer Max Steiner (1888-1971), who moved to Hollywood, California (U.S.A.) in 1929, brought to the American cinema a style of composition inspired by the works of Richard Wagner, Gustav Mahler and Richard Strauss. In spite of his profound influence on this new style of American music, very little detailed analysis of his film scores has been done. Biographical information is presented here with emphasis on the events leading up to and including the composition of the Academy-Award-winning score for the 1942 Warner Brothers film, Now, Voyager. The process of film score analysis is also briefly discussed, as well as the availability of unpublished film scores at various film archives in the United States. The body of this paper presents a detailed analysis of the harmonic, melodic and rhythmic elements that make up the seven main themes in the Now, Voyager score, as well as the transformation of those themes throughout the film. Leitmotifs and changes in tonality are an important part of this style, and they demonstrate a strong late-nineteenth-century romantic influence. These seven themes are consistently associated with the specific characters and situations as the film's narrative progresses. The relationship between these themes and the narrative of the film is discussed. Like Wagner and Strauss, Steiner has assigned themes to each main character and situation, and he applies the leitmotif technique to each of these themes. The consistency with which these themes occur simultaneously with their corresponding characters or situations on the screen is obviously intentional. The timing of these musical events in synchronization with the visual images is always very precise. Attempting such precise timing, however, could have easily resulted in a score that lacks any kind of unity or structure. The fact that all of these musical events are put together to form a logical and coherent score clearly exhibits a great sense of craftsmanship.

This thesis discusses two aspects of Vaughan Williams' 7th Symphony. Comparison of Sinfonia Antartica and the film "Scott of the Antarctic" reveals that the symphony is a direct derivative of the film score and that the symphony contains no original motivic material of its own. Only minor changes to the film score, such as chronology, orchestration, extensions, and the like, were necessary to rework the material into its symphonic form. The second aspect under discussion is the symphony's harmonic language. The problem with the harmonic content is that the relationships between chords do not follow functional harmonic procedures. However, the harmonic materials used in this symphony can be illuminated through analysis techniques found in the writings of Ernst Kurth, an early twentieth century theorist and specialist in Romantic music.

We all have the desire for architecture that is fleeting, that is not fixed, hard to capture, even impossible to master. And build. But we also have the desire, the impulse, to surpass that impossibility, to dwell in our imagination. In Umberto Eco's opinion, the only place where this is possible is fiction. In order to understand stories I need to construct their architecture and at the same time, in order to understand architecture I need to place a story in it. In this film the project pursues the desire for an animate architecture. Like the impossible desire of the would-be lovers in the play The Malady of Death by Marguerite Duras, this desire also proves impossible; the architecture is found in that impossibility. The movie has to suffer from the same malady of impossible yearning. This film is a lazy machine---asking the viewer to construct the space of the narrative.* *This dissertation includes a CD that is compound (contains both a paper copy and a CD as part of the dissertation). The CD requires the following applications: Windows Media Player.

vittoria says: "there are days when a table, or chair, or book, or a man are all the same."* is architecture a projection of our desires or are our desires a projection of architecture? looking at godard and loos. both project their own desires: godard, in "le mepris", destroying the line that separates film and reality using brigitte bardot's body, and projecting his own life on to the malaparte house; loos, in the josephine baker house, desiring her body, projecting, thinking of her moving, dancing in space. in both cases, there is a fragmented space where each fragment can be disparate, and at the same time in an oblique allusion, an implied or indirect cross-reference. Form, when the body loses its corporeality; it evaporates, changes, and morphs, becomes Desire. a walkthrough...** *"L'eclisse", 1962 Michelangelo Antonioni film; **This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Quicktime and/or Windows MediaPlayer or RealPlayer.