Intermediality has become an umbrella term for a heterogeneous group of concepts as diverse as the creation of an entirely new medium and the mere quotation of a work from one medium in another. Intermedial analyses of specific film texts have appeared sporadically but have shed remarkable light on the influence of other media on film narrative, structure and visual style. This PhD takes intermediality to be, as Irina Rajewsky describes it, instances in which film ‘thematises, evokes or imitates elements or structures of another, conventionally distinct medium through the use of its own media-specific means.’ Using this definition as a starting point, this project applies the concept of intermediality to films that deal specifically with arts and media within their narratives, or that are adaptations from another medium, across the American independent cinema landscape since 1990. In this way, a typology of media interaction and intermediality within film texts is developed in relation to their relative position in the American ‘indie’ tradition. Although the thesis uses a primarily industrial definition of ‘independence’, this work also applies a number of criteria constituting a particular ‘indie’ aesthetic to these films, as outlined by experts in the field like Geoff King and Michael Z Newman. This enables additional links to be identified in regard to whether intermediality is utilised differently in particularly ‘alternative’ or more ‘mainstream’ film content. This methodology has demonstrated that intermediality plays a significant role in many American ‘indie’ films strategies of differentiation from the mainstream. Additionally, correlations have been discovered such as particular distributors’ preference for contacting specific types of media, as well their willingness (or otherwise) to engage in such potentially alienating and experimental content as intermediality and metareference.

This thesis examines experimental film and video in 1980s Britain through a critical reassessment, mapping histories of these practices in relation to critical writing of the period. This historiographical analysis utilises material contained in The British Artists’ Film and Video Study Collection, part of the Museum at Central Saint Martins (UAL). Close analysis of a number of selected film and video works created within the artistic, activist and experimental communities active at the time both develops the thesis’ function as a new account of the period and provides a critical means of surveying historiography within the field of artists’ moving image. This study establishes the voice as a key theme in relation to both constructed narratives in historiographical writing and in works from this time. Employment of oral, primary source accounts frames analyses of voices in preexisting written histories and acts as a means to explore aural strategies and components within film and video works. Initial analyses of ‘historical recovery’ before, during and after the 1980s is followed by first considering how stories are recounted by voices, before investigating works that responded to events at the time and exemplified the struggles of voices during this significant period in British history. Focus on the voice frames a critical exploration of lexicons related to ghosts which appears later in the thesis. Jacques Derrida’s lecture and publication Specters of Marx (1994) is referenced to develop discussion of ghosting in relation to myths and historical sources in analysis of Ken McMullen’s Ghost Dance (1983), in which Derrida muses on ghosts and recording. An exploration of recording technologies and media informs a critique of writing history in order to reflect upon British film and video of the 1980s. It identifies a cacophony of voices – political, critical, activist and artistic – as characteristic of the times and a key element in the composition of the works and historical accounts of the moving image.

The following thesis examines the possibility that the contemporary Western political leader can be assessed and understood as a performer. It subsequently highlights the various repercussions of this statement, from theoretical, practical, historical and cultural perspectives. Through an extensive, multi-disciplinary literature review and case specific examples, the author argues that researching the politician as a performer has both practical and theoretical value. Included in this review are analyses of key contemporary issues surrounding political performance. The various uses of contemporary media, including the skills and semiotics that they generate, are discussed. Questions are raised regarding the audience's ability to interpret the information they receive through mediated performance. A working definition of audience is developed, to include those who consume and interpret political performance. Also explored in relation to political performance are questions of contemporary celebrity, performativity, and feminism. The thesis suggests that not only is the politician a performer, but that the related theories of performance have an impact on political dialogue at a variety of levels. As is highlighted in the thesis, existing literature has not examined the politician from this perspective. Therefore the work contributes to the body of knowledge around performance and cultural studies.

How do contemporary imaging devices and the forms in which images are displayed affect our perception of Mars? How are scientists and engineers visually exploring, experiencing and navigating this uninhabitable terrain? Can we better understand this virtual landscape through immersive imaging techniques, or are these simply illusions? At what point does the glitch invade these immersive spaces, throwing us back into the realm of the image? And finally, can the glitch be seen as a method towards another kind of visibility, enabling us to ‘see’ and encounter Mars in productive ways? Through the analysis of contemporary representations of the Martian terrain, Mars, Invisible Vision and the Virtual Landscape: Immersive Encounters with Contemporary Rover Images offers a new contribution to studies of the digital and virtual image. Specifically addressing immersive image forms used in Mars exploration the research is structured around four main case studies: life-size illusions such as panoramas; 3D imaging; false colour imaging; and the concept of a ‘Mars Yard’. The thesis offers a new understanding of human interaction with a landscape only visible through a screen, and how contemporary scientific imaging devices aim to collapse the frame and increase a sense of immersion in the image. Arguing that these representations produce inherently virtual experiences, their transportive power is questioned, highlighting the image as reconstructed – through the presence of a glitch, illusion is broken, revealing the image-as-image. This thesis takes an interdisciplinary approach in which scientific images are analysed through the prism of photography’s relationship to reality, theories of vision and perception, representations of landscape, and digital and virtual image theory. At the heart of this thesis is the act of looking; critical and speculative writing is used to convey immersive encounters with images at NASA and the Jet Propulsion Laboratory (USA); University College London’s Regional Planetary Imaging Facility; Airbus Defence and Space (UK); the photographic archive at the V&A; and the Panorama Mesdag (Netherlands). The research re-examines scientific forms of images against examples from the history of visual culture (be it art or popular culture) to draw parallels between different ways of seeing, representing and discovering the unknown. The eyes of the Mars rovers provide viewpoints through which we regard an alien terrain: windows upon unknown worlds. Rover images bridge a gap between what is known and unknown, between what is visible and invisible. The rover is our surrogate, an extension of our vision that portrays an intuitively comprehensible landscape. Yet this landscape remains totally out of reach, millions of miles away. This distance is an impenetrable boundary – both physically and metaphorically – that new technologies are trying to break. Mars, Invisible Vision and the Virtual Landscape offers a two-way impact, constituting a new approach to the relationship between real and imagined images in order to demonstrate that the real Mars, however it is represented and perceived, remains distant and detached.

This project demonstrates opening cinematic design from conceptualization to final composition. Using Unreal Engine 5, I created an opening cutscene using Unreal’s sequencer editor to film and edit my shots. This document presents the steps I took to create my sequence from the writing process to the final layout. Starting as a written story, I worked my way to the final project by creating a mock scene and storyboarding. After this, I built my scene using assets from the Unreal marketplace and lit my scene with HDRI and dynamic lighting. I encountered many new programs such as Cascade and Mixamo to create and edit particle effects for my scene and animations for my protagonist character. I created unique sound effects for the level, recorded my shots with movement and color correction, and edited the final composition.

This thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the photographic image became a major means of communication. I argue that the surrealists were conscious that photography was central to the circulation of ideas and developed a radical notion of the illustration of text. The thesis examines how photographs used in surrealist publications were integrated into the complex surrealist project and how due to the currency in images in society, the medium offered opportunities for disruption. In each of the five chapters I examine the surrealist deployment of photographic images to articulate cultural and political radicalism. The thesis argues that the photographs published by the surrealists made an important contribution to contemporary discourse on sexuality This thesis makes an original contribution to knowledge as it expands the understanding of photographs published by the surrealist group by exploring their relationship to contemporary commercial images circulating in the press. It analyses works that have been marginalised, many of the images in the first two journals in the inter war period, the images in the illustrated books 1929, Banalité, Le septième face du dé and the images in the post war journals have been neglected as subjects of study.

While there is significant interest in the lives of looked-after young people, little attention has been given to the way these young people are depicted onscreen. The aim of this study is to explore looked-after young people's perceptions of these fictional depictions and the impact these depictions have on them. Drawing on Freire’s seminal text, Pedagogy of the Oppressed, I adopt a participatory approach throughout. Research methods involved viewing and discussing TV and film content depicting looked-after characters with a group of young people in care, followed by semi-structured interviews with group members. The data is analysed using a modified Interpretative Phenomenological Analysis protocol. My research highlights that these young people perceive onscreen fictional depictions to be “unrealistic” and negative. These depictions have significant impact, particularly in terms of “presumed media influence”, on how these young people perceive negative depictions to influence others. The young people offer a range of suggestions in terms of better depicting looked-after characters, drawing on their own experiences of care. My research also highlights the benefit of utilising a Freirean empowerment model, in terms of raising critical consciousness, for a group of looked-after young people.

In the face of climate change, what can art do? The question is both practical and ethical: a question of art's efficacy, its ways of working, and its uses to audiences. These intertwined questions are articulated in writing and film-making, both of which draw on an empirical method, alongside research into ethics, ecology, film history, the politics of climate change, and critiques of capitalism. I seek to represent the consequences of climate change as they are experienced by the inhabitants of the north of Scotland and Arctic Russia. Through writing and film I document and interpret changing relationships with the sea and the land, thus bringing to light the interplay of climate change with history and memory, and with the social, economic, environmental and political forces that are shaping places and lives. One of the research methods of this PhD is a form of fieldwork, consisting of recorded interviews and informal encounters, filming and note taking, which form the source material for a multi-vocal approach to writing and filmmaking. The written thesis consists of narrations of journeys, both actual and theoretical. I tell stories of journeys to the White Sea in northeastern Russia, and to the north Highlands and islands of Scotland, where the political, economic and environmental upheavals are emblematic of a geopolitical shift north. I examine how ideas of North and of the sea, of nature and landscape, contained in films, oral histories, myths and writings, contribute to contemporary perceptions of place. These ideas are analyzed further through Alexander Dovzhenko’s film Aerograd, and Michael Powell’s The Edge of the World. I shot the two films, Call of North and From Time to Time at Sea, alongside supplementary film works, in Northern Russia and the far north of Scotland, in Caithness, Orkney and during a sailing expedition to the Northern Isles with Cape Farewell. Concomitantly with the first person written narrative, they investigate the camera as a participant-observer, and the implied presence of a future audience. The familiar trope of anthropology whereby the observer influences what is observed is explored here within the context of film. Both the written and film works document disappearance: of individuals and their memories, of species, of ecosystems, of ways of life, of imagined worlds, and of entire societies as well as the vertiginous fear of the future annihilation of human civilization. At the same time a plurality of perspectives and voices are combined to produce polyphonic compositions that resist being reduced to pessimism. The documentation of disappearance is examined and articulated as a distinct response to an ethical and ecological imperative. Meanwhile, the works propose to speak to a future audience –– to speak not to the world as it is but as it could become.

Kyoto University (京都大学) / 0048 / 新制・課程博士 / 博士(工学) / 甲第16463号 / 工博第3491号 / 新制||工||1528(附属図書館) / 29105 / 京都大学大学院工学研究科建築学専攻 / (主査)教授 門内 輝行, 教授 髙松 伸, 教授 神吉 紀世子 / 学位規則第4条第1項該当

This thesis evaluates the usefulness of post-nationalist theory in developing and understanding existing debates around national cinemas in film studies. Whilst a great deal of research has focused on the significance and importance of national cinemas, changes in the international landscape have offered challenges to the value of national cinema as a concept. To date, these challenges have been primarily addressed within discussion of transnational cinema which, although useful, has yet to fully interrogate the power relationships between nations. The importance of post-nationalist theory in this regard is that it deliberately seeks out texts which explore these power structures and often focuses on contact zones in which the dominant nationalism, and therefore national cinema, is being overtly opposed and undermined. The central question addressed by this thesis is ‘How can post-nationalist theory advance cinematic debates concerning national and transnational cinemas?’ In order to address this, the films of several migrant, exilic and diasporic filmmakers will be discussed as case studies. This is because their hyphenated identities offer access to a greater number of nationalisms, and also highlight a state of rootlessness in which oppositional positions can be more easily adopted. The filmmakers discussed are: Fatih Akin, whose work offers representations of migrant figures and literal border crossings; Ferzan Ozpetek, who expands these migrant representations to include issues of sexuality and class as non-official nationalisms; Atom Egoyan, whose cinematic style opposes cinematic forms, conventions and nations; Michael Haneke, whose films engage in an overtly oppositional style; and Gurinder Chadha, as a filmmaker who not only uses gender to advance these debates, but also enters them into discussion with mainstream cinema. The thesis will apply close textual analysis to each of the directors’ work in order to illustrate how post-nationalist theory can be used to understand the oppositional spaces they create in relation to nations and national cinemas. This will demonstrate not only the relevance of post-nationalist theory to cinema, but also develop current understanding of the strengths and limitations of the conceptual and theoretical work associated with national and transnational cinemas.