Thesis (M.F.A.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

Thesis (M.F.A.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

Thèse (M.A.)--Université Laval, 1997. / Comprend des réf. bibliogr.

Thesis (Ph. D.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 588-618). Print copy also available.

The Falklands Conflict has always loomed large throughout my adult life. As a young man of 19 years old, I watched the television and read the newspapers with the same degree of excitement and fascination as most of the British population. In the following year, as a direct result of the passion and glory that surrounded the war I joined the British Army as a Royal Military Policeman. It quickly became apparent to myself, if not the military, that this was a poor career choice and that I was never cut out to be a soldier. After a military career lasting no more than a few weeks I went to college and started life as a photographer, joining the Ministry of Defence in the late 1980s. Since then, I have made numerous visits to the Falkland Islands to publicise the work of the soldiers who now defend the islands from any threat of re-invasion. Looking back, it seems that the war was over remarkably quickly, and by modern standards, where the war in Afghanistan is projected to last anything between 10 and 20 years, it was. It has often been described as Britain's last colonial war, the last in a long line of small conflicts that expanded and defended the British Empire. Attitudes to war in the South Atlantic developed in a bubble of patriotism and jingoism that has not been seen since and such attitudes now seem to be forged in imperialism, in a time long past and no longer available to representatives of British culture. However, on a wider stage, the representation of all wars and the men who fight in them has a long history. Each culture has its own way of coming to terms with conflict and death, but in the western world, the origins of the representation of the warrior can be traced back to the Ancient Greeks in general, and Homer in particular. Dr. Jonathan Shay, a psychiatrist with the United States Department of Veteran Affairs has made a compelling argument that breaking the Greek covenant has had lasting implications for the veterans of the Vietnam War. (Shay 1995) This psychoanalytical work has helped provide a model of representation that explains why soldiers are portrayed in the way they are. Without the work of Dr. Shay, I am sure that this thesis would not have taken the course that it has. In pursuing this thesis I have had to accept that there may be implications, perceived or real, for my ongoing work as photographer with the Ministry of Defence. The MoD has in various measures supported this research and to date has made no attempt to direct its course or influence the findings; in fact, at the point of submission, they are unaware of its contents. It is clear, that in this type of research, not all the findings will reflect well on the MoD's past or current working practices, but I believe it is possible for it to learn from the results. My position as an MoD photographer has on the other hand had a positive benefit on the research: I have been able to gain access to archives that have remained closed to others. Hilary Roberts, Head of Photography Collections at the Imperial War Museum, has been very influential in this work and has given me more co-operation and trust than I could have hoped for. She has also allowed me more time to present this work than I could have dared asked for given the nature of the images found in the IWM archive, and that the research spanned the 25 th anniversary celebrations. I remain grateful to Hilary for her unstinting support. Finally, I would like to thank Dr lan Walker for his support and supervisor expertise over far too may years. He has read and re-read this work more times than I care to remember and has remained perennially patient with my inabilities to either type or spell, a problem that has made his job all the more difficult. The research and the writing faltered on several occasions, some more serious than others, but without his skill in getting me to do things that, quite frankly, I really did not want to do, this project would never have been completed. It is to Ian that I hold the deepest debt of gratitude.

"A New Battleground" looks into the variety of on-campus opinions regarding the Israeli-Palestinian conflict. This film is short documentary style, with filmed interviews of students and teachers, imparting an educational message meant to inform others of the complexity of this highly topical issue.

The documentary, "Get Out of My Hair, " engages in the dialogue of hair removal and its relationship to femininity, specifically looking at how the media has taught young women to fear the affects of puberty. The piece features ten women between the ages of eleven and twenty-two with ranging demographics who are all brought together by their experiences with their body hair. Applying media effects theory and psychoanalytic theory, this project examines how advertising portrayals of female body depilation contribute to the increase in hair removal and further align the concept of femininity with hairlessness.

Animal rights activists and animal welfare advocates are the two most vocal groups dedicated towards improving the lives of animals, however they often end up fighting with each other instead of working with together. They get caught up in the small details and forget that they are both working towards the same bigger picture: living in a world where animals and humans can cohabitate happily and healthily. Both groups use the media as a tool to grab headlines and generate controversy, which sheds light on animal rights issues. While its commendable that both groups are willing to go to many extremes to get their message to the public, they do so at the expense of properly educating the public. Animals rights issues become more about the spectacle than the animals, which ultimately ends up helping no one. I want to first analyse the arguments about captivity from both parties, and then delve into the tactics that they use to get their ideologies across. My goal was to create a short documentary that explores the depth of these issues, critique the role that the media plays through the lens of a specific animal: Billy the Elephant.

Discussions about the early films of Humphrey Jennings refer to his artistic and intellectual background to explain the nature and scope of his film work. Such discussions, however, tend to rely on highly selective and partial information from existing accounts. This tendency has over time created a form of orthodox opinion, an opinion which tends to regard Jennings as an artist and intellectual who, prior to full-time involvement with film, collaborated and worked on a diverse series of artistic and intellectual projects spread across a wide range of subjects and disciplines. These activities are seen as symptomatic of a mind which could not remain focussed on one particular endeavour. However Jennings` early wartime films express in quintessential form many of his ideas, and through a distinctive form of poetic expression celebrate both the civilian response to and the need for national unity under the threat of invasion. The aim of this thesis is to revise the existing understanding of Jennings' artistic and intellectual background and challenge the prevailing interpretations of his early propaganda films between 1939 and 1942. It is hoped to reveal how his artistic and intellectual pursuits and his film work represent a sustained and coherent intellectual and artistic exercise focussed on the nature of artistic technique. This focus dates from the activities of his parents and continues through his educational experiences at school and university. Simultaneously this engagement with the arts was informed and influenced by contemporary economic, social, cultural and political events. It is these factors which inform the nature and scope of his filmwork. In artistic, intellectual and political terms the series of films Jennings produced and directed between 1939 and 1942 represent in style and form a fundamental challenge to John Grierson's understanding of the meaning, nature and role of the documentary and propaganda film. Jennings' challenge to the Griersonian ideal of documentary film also contests the political meaning behind both pre-war documentary and wartime propaganda notions of national unity and the future post war settlement.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T16:55:44Z (GMT). No. of bitstreams: 1 Pereira_VerenaCarla_M.pdf: 5051286 bytes, checksum: 125d885119a5d68547f1ee8eb428f23d (MD5) Previous issue date: 2010 / Resumo: O início da realização dessa pesquisa está no projeto de Iniciação Científica "Produção Documentária Estatal no DOCTV: levantamento de dados e formação de acervo", que desenvolvi entre 2006 e 2007, já sob a orientação do Prof. Dr. Fernão Ramos. O objetivo do projeto, patrocinado pelo CNPq/ PIBIC, era realizar um amplo levantamento de dados sobre o DOCTV. Tais dados foram a base para a pesquisa aqui apresentada. O estudo do DOCTV surge na curiosidade em se entender o funcionamento de um programa com patrocínio do Estado e das TVS Públicas. Nos últimos anos, notamos um maior destaque à produção de documentário no Brasil e também uma maior recepção à produção internacional. Há uma grande movimentação em torno dos festivais especializados, em especial o "É Tudo Verdade". Os motivos desse respaldo são diversos, como a maior utilização de notícias conhecidas pela mídia como temas documentais e a ampliação do docudrama, que com uma linguagem carregada de artifícios documentais ficcionaliza uma história. Diante desse contexto promissor da linguagem documental, surge o DOCTV. Os filmes produzidos nas três primeiras edições do Programa pouco apresentam de inovação. Entretanto, o DOCTV renova a forma de produção de documentários através de sua complexa estrutura de trabalho. Seu mérito reside na articulação que é gerada em seu redor: articulação de um sistema de teledifusão, de distribuição, de comercialização. Essas e outras ações fazem parte de um grande sistema único criado para viabilização desse Programa / Abstract: This Master's Research begins with the Undergraduate Research entitled "Produção Documentária Estatal no DOCTV: levantamento de dados e formação de acervo", developed from 2006 to 2007, under the supervision of Professor Fernão Ramos. That research, sponsored by CNPq/PIBIC, intended to develop a wide data gathering about DOCTV. This data collection now serves as a source to the research presented here. The reflection about DOCTV emerges from the curiosity of understanding how a program, sponsored by the Government and Public TV companies, works. We have noticed a higher emphasis to the Brazilian documentary production and also a higher acceptation of international production in the past few years. Innumerous possibilities aroused with specialized festivals, such as "It's All True". The reasons are multiple, such the higher utilization of veridical news as documentary themes and the expansion of "docudrama", that makes use of a documentary-based language to fictionalize a story. DOCTV arises from the promising context of documental language. While the screenplays produced during the first three editions of the Program do not innovate much, DOCTV renews the film-making industry through its complex work structure. The Program's merit resides in the articulatory movement built all around it: the articulation of broadcasting, distribution and commercialization systems. These and other actions take part on a wide and unique system developed to turn DOCTV into reality / Mestrado / Mestre em Multimeios