<p>This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.</p>

This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.

From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films' ideologies with regard to mental illness and femininity.

Le classicisme hollywoodien permet d’explorer la variété des sens que revêt au cinéma le concept de réalité à partir de fragments de réalité matérielle enregistrés, du réalisme ontologique qui s’y attache, de la réalité diégétique qui constitue l’univers des films, et de la réalité philosophique, qui renvoie le spectateur à son être propre par le partage de l’expérience de personnages auxquels il s’identifie. Par l’instrumentalisation de ces réalités relatives, Hollywood crée une nouvelle forme de récit qu’alimenteront la littérature, les mythes et la psychanalyse, participant à la diffusion d’un fonds culturel commun à tous les Américains. Parce que la réalité cinématographique n’est pas ce que croit le spectateur, elle a naturellement partie liée avec le rêve et le fantasme, justifiant une réflexion sur leurs interrelations et sur la dynamique de transformation de l’art cinématographique qui se joue dans ces interrelations.Les mondes hollywoodiens, soumis à l’ imaginaire et au désir des cinéastes, n’ont que l’apparence du nôtre, jusqu’aux mondes intérieurs dont les portes nous seront ouvertes par Hollywood à travers la représentation des rêves, créant une hybridité entre réalité, rêve et fantasme. Mais un doute se créera chez le spectateur à qui on aura fait croire au rêve et au fantasme autant qu’à la réalité, et ce doute mettra en péril la « suspension d’incrédulité » qui avait fait le succès d’Hollywood et contribuera à la fin du classicisme, le rêve ayant contaminé la fiction. / Through classical Hollywood cinema, one can explore the broad variety of meanings that the concept of reality has in cinema: fragments of recorded reality material, the ontological realism that is attached to it, the narrative reality that constitutes the universe of films, and the philosophical reality that transports the viewer back to his own self by sharing the experience of characters with whom he identifies. Through the instrumentalisation of these relative realities, Hollywood creates a new form of narrative that nourishes literature, myths and psychoanalysis, and help spread a common cultural background to all Americans. Because cinematographic reality is not what the audience believes it is, it is naturally linked with dream and fantasy, justifying thoughts on their inter-relationships and on the dynamics of the transformation of cinematographic art that is played out in these inter-relationships.Subjects of the imagination and desire of filmmakers, the worlds created by Hollywood merely have the appearance of our world. This even encompasses inner worlds, whose doors will be opened to us through the representation of dreams, creating a hybridity between reality, dream and fantasy. But a doubt will be created in the spectator, who has been made to believe equally in dreams, fantasy and reality, and this doubt will jeopardize the "suspension of disbelief" that has made Hollywood successful, ultimately contributing to the end of classicism; the dream having contaminated fiction.

Ce travail se propose d'interroger le problème des limites de la représentation du cinéma de l'âge classique (1920-1960) à partir de l'esthétique organique-pathétique conçue par Sergueï Eisenstein dans la Non-Indifférente Nature, qu'il nomme « formule de l'extase ». Après avoir montré l'existence d'une double nature de l'extase chez Eisenstein (en même temps eidétique et régressive), ce travail montre les analogies de cette formule avec la mise en forme de l'excès de pathos (thématique et formel) dans l’œuvre de trois cinéastes hollywoodiens, King Vidor, Josef von Sternberg et Orson Welles. / This piece of work aims to inquire the topic of the limits of representation in the cinema of classical era (1920-1960) on the basis of the organic-pathetic esthetics conceived by Sergei Eisenstein in The Nonindifferent nature, which he names “formula of ecstasy”. After having shown the existence of a double (that is, eidetic and regressive at the same time) nature of ecstasy in Eisenstein, this piece of work will focus on the analogies between this formula and the shaping of the excess of (thematic and formal) pathos in the works by three Hollywood filmmakers: King Vidor, Josef von Sternberg and Orson Welles.

This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narratives about a certain idea of youth that is distinctly American and historically contingent; in other words, while certainly consumed by youth and depicting narratives that feature youthful characters and themes, the teen film genre contributes to discourses that are about and for the idea of America. My argument contributes to the critical literature on teen film by exploring the ways the teen film functions as a representation of American ideology. It outlines how, in America, the category of “youth” has historically functioned as an important site of ideological inscription in which to construct an idealised future. In the early 20th century (via the discourse of adolescence), youth was specifically idealised as a frontier space, a site in which to symbolically reconcile troubling anxieties and contradictions left unresolved at the closure of the American frontier. Up to the end of World War II, Hollywood cinema functioned similarly, as a site in which the troubling contradiction between the national ideals of individualism and community might be mobilised and contained, via the “reconciliatory” narrative.² The teen film emerged in the period immediately after World War II, when Hollywood’s efforts to resolve the tensions inherent in frontier mythology were foundering. The teen film might have represented a convergence of the potential reconciliatory powers of cinema and youth, but rather than assisting in the resolution of American ideological crises, the teen film problematised them. Screening youth as an inherently rebellious space, a “frontier” space, facilitated the breakdown of the reconciliatory pattern. In the teen films of the 1950s, the conflict between the ideals of individualism and community proved irreconcilable. Subsequent teen film cycles stage and re-stage the conflict between individual and community, offering repeated takes on what those fundamentally “American” ideals mean in each generation. This thesis traces developments in the representation of the conflict between individual and community through four of the teen film’s dominant cycles—delinquency films from the 1950s, slasher films and animal comedies from the 1970s-to-mid-1980s, and makeover films from the late-1990s-to-early-2000s. Proceeding from the initial deliberation over the terms about and for youth, I include discussions of films like Rebel Without a Cause (1955) and Porky’s (1982) while excluding films like River’s Edge (1986) and Kids (1995), which certainly represent youth, but are typically not viewed by them. ¹ This definition is supported by the work of Catherine Driscoll and Stephen Tropiano. ² This thesis works from Robert B. Ray’s discussion of the “reconciliatory” narrative. / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2009

This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narratives about a certain idea of youth that is distinctly American and historically contingent; in other words, while certainly consumed by youth and depicting narratives that feature youthful characters and themes, the teen film genre contributes to discourses that are about and for the idea of America. My argument contributes to the critical literature on teen film by exploring the ways the teen film functions as a representation of American ideology. It outlines how, in America, the category of “youth” has historically functioned as an important site of ideological inscription in which to construct an idealised future. In the early 20th century (via the discourse of adolescence), youth was specifically idealised as a frontier space, a site in which to symbolically reconcile troubling anxieties and contradictions left unresolved at the closure of the American frontier. Up to the end of World War II, Hollywood cinema functioned similarly, as a site in which the troubling contradiction between the national ideals of individualism and community might be mobilised and contained, via the “reconciliatory” narrative.² The teen film emerged in the period immediately after World War II, when Hollywood’s efforts to resolve the tensions inherent in frontier mythology were foundering. The teen film might have represented a convergence of the potential reconciliatory powers of cinema and youth, but rather than assisting in the resolution of American ideological crises, the teen film problematised them. Screening youth as an inherently rebellious space, a “frontier” space, facilitated the breakdown of the reconciliatory pattern. In the teen films of the 1950s, the conflict between the ideals of individualism and community proved irreconcilable. Subsequent teen film cycles stage and re-stage the conflict between individual and community, offering repeated takes on what those fundamentally “American” ideals mean in each generation. This thesis traces developments in the representation of the conflict between individual and community through four of the teen film’s dominant cycles—delinquency films from the 1950s, slasher films and animal comedies from the 1970s-to-mid-1980s, and makeover films from the late-1990s-to-early-2000s. Proceeding from the initial deliberation over the terms about and for youth, I include discussions of films like Rebel Without a Cause (1955) and Porky’s (1982) while excluding films like River’s Edge (1986) and Kids (1995), which certainly represent youth, but are typically not viewed by them. ¹ This definition is supported by the work of Catherine Driscoll and Stephen Tropiano. ² This thesis works from Robert B. Ray’s discussion of the “reconciliatory” narrative. / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2009

This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term used to describe the various methods in which a film can be shot and edited in order to create a specific aesthetic and communicate a specific idea. These styles can consist of camera movements, shot sizes or editing techniques, all of which aid in communicating a specific idea in a film. This study analyses the conventions of the conspiracy film, with regard to the manner in which the alternative and dominant versions of historical accounts are constructed. Furthermore, the study explores how these alternative and hegemonic historical events are presented and communicated through the use of visual translation styles. Theorists such as Jean Baudrillard and David Bordwell are referenced when discussing the meaning and application of terms such as “truth”, “narrative” and “history” and to problematise these notions in the context of this particular genre. Other key notions investigated include aporia, metalanguage and object-language and notions of genre theory. The conceptual and theoretical framework regarding visual translation styles is further complemented by writers such as Don Fairservice and Ken Dancyger. / Dissertation (MA)--University of Pretoria, 2012. / Drama / unrestricted

Questa tesi è un’esplorazione dei rapporti tra il segno teatrale e il segno cinematografico attraverso la prospettiva degli sceneggiatori e della sceneggiatura nel cinema hollywoodiano classico. Presenta problematiche che riguardano la sceneggiatura come pratica, forma d’arte, oggetto di discussione, mezzo di espressione e risultato di una messa in campo di propositi, valori e significati. / This doctoral thesis is an analysis of the relationships between the "theatrical sign" and the "cinematographic sign" from the perspective of screenwriters and of Classic Hollywood screenwriting. It introduces issues related to screenwriting as practical activity, form of art, subject of discussion, system of communication, and as the result of a negotiation of aims, values and meanings.

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