Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript.

published_or_final_version / abstract / Sociology / Master / Master of Philosophy

Thesis (M.A.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 155-161). / v, 161 leaves, bound ill. 29 cm

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 96-101). Also available in electronic format on the Internet.

Thesis (M.F.A.)--Georgia State University, 2008. / Title from file title page. Constance Thalken, committee chair; Joseph Peragine, Niklas Vollmer, committee members. Description based on contents viewed July 24, 2009. Includes bibliographical references (p. 34-35). Screenplay: p. 36-44.

Thesis (M.A.) - Carleton University, 2007. / Includes bibliographical references (p. 136-144). Also available in electronic format on the Internet.

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Film and Video. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR52780

Thesis (Ph. D.)--UCLA, 2010. / Vita. Includes bibliographical references (leaves 230-241). Film and videography: leaves 226-227.

This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema". This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.