Thesis (Ph. D.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (p. 202-198). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2001. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 202-198).

Notre étude repose sur la mise en rapport de deux phénomènes qui ont marqué la production cinématographique anglo-saxonne et française de ces vingt dernières années. L'un économique et technique, est l'avènement de l'imagerie numérique remplaçant peu à peu le support argentique bouleversant les modes de composition, de diffusion et de réception des films. L’autre, esthétique et poétique, est la recrudescence et la popularité d’œuvres appartenant à un genre de récit de fantasy – ou de merveilleux. Comment comprendre la corrélation de l’innovation technique et du conservatisme narratif sans n’y voir que la manifestation d’un raidissement idéologique de la culture occidentale ? Celle-ci nous apparaîtra comme un rapport de forces essentiel entre les images cinématographiques et numériques, une hybridation. Si l’art du récit gagne en hyperréalisme grâce au potentiel de simulation de l’informatique, il réinjecte le sens de la durée, du temps traditionnel, dans l’image quand l’intelligence de l’imagerie numérique est régie par l’urgence d’un temps réitératif amnésique. Nous nous attacherons donc à définir le genre de la fantasy et ses propriétés dans le langage cinématographique poétique. Déterminant la différence spécifique de ce genre comme étant un certain usage des effets spéciaux, nous étudierons ceux-ci et leur emploi dans la fantasy comme effets de merveilleux. Enfin nous montrerons comment la mutation numérique de l'industrie et de l'imaginaire cinématographique met en crise le récit filmique et pourquoi nous pouvons considérer le retour de ce type de narrations comme une forme de résistance face à la nouvelle image, le néotraditionnalisme. / Our study is based on the connection of two orders of phenomena wich have marked the anglo-saxon and french film production during these last twenty years. The first one is economical and technical, it’s the advent of numerical imagery wich replaces more and more the argentical medium disrupting the ways of composition, of diffusion and of reception of film movies. The second one is esthetical and poetical, it’s the renewed outbreak and the popularity of fiction films wich belong to the narrative genre of fantasy. How can we understand the correlation of technical innovation and narrative conservatism without interpreting it as a manifestation of an ideological stiffening of occidental culture ? This correlation will seem to us an essential relationship beetween film and numerical imagery, as a begining of an hybridation. If the narrative art wins a hyperrealistic dimension thanks to the simulation potential of data processing, on the other side, the fiction storytelling reinjects the meaning of duration, of traditional time, in the image also the numerical imagery intelligibility is governed by the emergency of an amnesic reiterative time. Then we will apply ourselves to define the fantasy genre and its properties in poetical film language. Determining this genre specific difference as a certain use of special effects, we will study it and its usage in the fantasy stories as enchanted effects. At last, we will show how numerical mutation of film industry and imaginary threatens the film narrative and why we can consider this type of fictions as a way of resistance in front of the new imagery, the neotraditionalism.

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M.A.(Clinical Psychology) / Please refer to full text to view abstract

Taiwanese fantasy novels are few. This translation of Liu Zhi-Yu’s award-winning debut novel Miss Where seeks to bring the book to the attention of a western audience sure to appreciate a tour-de-force of creativity in the best fantasy tradition. Owing something to Neil Gaiman’s novel Neverwhere as well as Peter Pan’s Neverland, the fantasy land of Mishi-hui introduced in the novel blends the best of western and eastern fantasy traditions.

The genre of fantasy contains texts which are unlike, or distance from, the real or empirical world--the world of the reader's experience. Nevertheless, fantasy texts can reveal truths which are relevant to the empirical world, and thus fantasy texts can be said to have cognitive value. The notion of possible worlds, the semiotic theory of metaphor, and a discussion of ambiguity are the three critical approaches used to investigate the cognitive value of fantasy texts. The stories in this collection provide a sampler of fantasy figures--such as mermaids, ghosts and living mummies--and make use of the emotional power of ambiguity.

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Thesis (M.A.)--Ball State University, 2008. / Title from PDF t.p. (viewed on Sept. 08, 2009). Includes bibliographical references (p. 100-104).