黃彩鳳. / "2005年7月". / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves x-xvii). / 附光碟規格: VCD. / "2005 nian 7 yue". / Abstracts in Chinese and English. / Huang Caifeng. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves x-xvii). / Fu guang die gui ge: VCD. / 撮要 --- p.ii / 鳴謝 --- p.iii / 目錄 --- p.iv&v / 附表： / 附表一： ̐ơج 卵子體慾̐ơخ放映紀錄2003-05 --- p.vi / Chapter 第一章 --- 導言 --- p.1-13 / Chapter 1.1 --- 《卵子體慾》簡介 / Chapter 1.2 --- 題目定義 / Chapter 1.3 --- 硏究方向 / Chapter 1.4 --- 研究過程中的矛盾 / Chapter 1.5 --- 論文章節簡介 / Chapter 第二章 --- 尋找理論：“我…´ح的錄像/學術/性/別運動？ --- p.14-43 / Chapter 2.1 --- 性/別運動？ / Chapter 2.1.1 --- 性/別運動的定義 / Chapter 2-1.2 --- 性/別運動與《卵子體慾》 / Chapter 2.2 --- “錄像´ح的性/別運動？ / Chapter 2.2.1 --- 電影理論 / Chapter 2.2.1.1 --- 男性凝視理論 / Chapter 2.2.1.2 --- 多元觀影/閱讀角度 / Chapter 2.2.1.3 --- 女性觀影理論 / Chapter 2.2.2 --- 陰性書寫 / Chapter 2.2.3 --- 性/別錄像運動與《卵子體慾》 / Chapter 2.3 --- 學術的性/別運動？ / Chapter 第三章 --- 混亂的開始：拍攝者的´ح我´ح /被拍攝者的´ح我´ح --- p.44-53 / Chapter 第四章 --- 經驗放映：放映者的´ح我´ح /觀影者的´ح我´ح --- p.54-89 / Chapter 4.1 --- 第一次放映的掙扎 / Chapter 4.2 --- 不同的放映形式與性/別討論平台的關係 / Chapter 4.3 --- 放映過程中情緒不斷的反覆 / Chapter 4.4 --- 經過多次放映之後…… / Chapter 4.4.1 --- 媒介與身體經驗的關係 / Chapter 4.4.2 --- 女人不同性慾/母體抉擇/社會環境之間的關係 / Chapter 4.4.3 --- 想要生孩子的慾望 / Chapter 4.4.4 --- 反思男性角色與懷孕的關係 / Chapter 4.4.5 --- 反思多元關係和不同的性愛模式的可能性 / Chapter 4.4.6 --- 對錄像自我書寫的反思 / Chapter 4.4.7 --- 關於觀影者背景的性/別反思 / Chapter 第五章 --- 徘迴在性/別運動與不同理論之間：性/別運動者的´ح我´ح /性/別硏究者的´ح我´ح --- p.90-99 / Chapter 5.1 --- “我/我/我/我/我/我…´ح的性/別運動？ / Chapter 5.2 --- “我´ح的錄像(學術)性/別運動？ / 附件： / 附件一 ：錄像´ؤ´ؤ《卵子體慾》片長：32分鐘 / 附件二 ：東亞區錄像及攝影計劃：女性身體故事 --- p.vii-viii / 附件三：派發給觀眾的網上討論資料和聯絡方法 --- p.viiii / 參考書目 --- p.x-xvii

The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates. In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.

Thesis (Ph. D.)--Ohio State University, 2008.

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T08:32:10Z (GMT). No. of bitstreams: 1 Nunes_Caue_M.pdf: 2067919 bytes, checksum: 81f6a5636a7aac20af8f815a782827be (MD5) Previous issue date: 2012 / Resumo: Essa pesquisa propõe uma investigação sobre o documentário audiovisual e sua interlocução com o conceito de "falso", a partir de alguns filmes que se utilizam de narrativas que mesclam "ficção" com "documentário". Ao final, há uma proposta de roteiro de um falso documentário cujo tema é a ciência, o terceiro elemento que dialoga com os conceitos de "documentário" e "falso" / Abstract: This research proposes an investigation into the audiovisual documentary and its dialogue with the concept of "false", from some movies that use narratives that mix "fiction" with "documentary". At the end, there is a proposed script for a fake documentary whose subject is science, the third element that dialogues with the concepts of "documentary" and "false" / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural