Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 65. / by Michael Naimark. / M.S.V.S.

This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon / Master of Arts (Hons)

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 18).

This thesis provides an historical description and analysis of Labyrinth, the National Film Board of Canada's pavilion at Montreal's Expo 67. The thesis discusses Labyrinth in the context of traditions of multiscreen cinema and immersive artworks; further it relates the pavilion's structure, film content, and role in Expo within the context of Canadian art traditions and the 1967 centennial celebrations. Analysis of the pavilion is grounded in Bruce Elder's treatise on Canadian cinema entitled "The Cinema We Need". The thesis also explains the technological and formal, connections between Labyrinth and the invention of IMAX cinema.

Thesis (M.A.)--Ohio University, August, 2006. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--Stanford University, 1981. / Includes bibliographical references (leaves 301-316). Also issued in print.

Thesis (Ph. D.)--Florida State University, 2005. / Advisors : Dr. Karen L. Laughlin and Dr. Mark Garrett Cooper, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (June 14, 2005). Document formatted into pages; contains vi, 193 pages. Includes bibliographical references.

Thesis (Ph. D.)--Stanford University, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 301-316).

This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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