Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 55-57).

Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 55-57). Also available in print.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

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.

The following study aims, through a narratological and discourse analysis, to discuss and make visable, how two films, both named The Birth of a Nation, directed by G.W. Griffith and Nate Parker respectively depict violence and sexuality in relation to race. The theoretical framework, consists of postcolonialism, race, violence, masculinity and sexuality. However, the different parts of the theoretical framework are intertwined as race, sexuality and violence are interlinked and dependent on each other. These theories were chosen in accordance to the feature films’ narratives as well as their relation to each other. The results of this study were mainly in line with previously conducted research regarding the films. However the analysis of Nate Parker’s production provided a more neuanced perspective regarding the depiction of the interlinked expressions of sexuality and racial hegemony mainly from whites. Both films use similar style figures regarding the depiciton of violence, hegemony and sexuality even though the style figures serve to portray, in Parker’s film – the whites, and in Griffith’s film – the blacks, as perpertrators. Finally, the study raises new questions for research. I claim that a larger study, containing the collected canon of feature films from 1915 until today would make for an enriched and more complete picture of how black slaves are depicted in feature films as well as how these films reflect their contemporary times.

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

This thesis undertakes a study of four films, directed by Arab directors from Palestine, Lebanon, America and the United Arab Emirates, and argues that these works speak back to the negative representation of Arabs in mainstream Hollywood films. It examines the methods these directors have deployed to contribute to a consciousness on a cultural level. These include the films Amreeka (dir. Dabis, 2009: USA, National Geographic Entertainment), Paradise Now (dir. Abu-Assad, 2005: USA, Warner Bros), West Beirut (dir. Doueiri, 1998: Belgium, France, Norway, Lebanon: 38 Production) and City of Life (dir. Mostafa, 2009: UAE: Filmworks). I argue that these films speak back to the representation of Arabs created by Hollywood. In all the films I analyse the representation of the characters, which allows viewers into their frames of reference and makes them relatable. The characters are ordinary people facing the situations of everyday life in various settings. Whether it is the limitation of their geographical location while living under occupation in Palestine as in Amreeka and Paradise Now, emigrating to America and coping with xenophobia as in Amreeka, living in a country exploding as civil war breaks out as in West Beirut, or adjusting to multiculturalism as in City of Life, filmmakers are allowing viewers into the lives of Arabs, representing them in terms of all their successes, failures, vulnerabilities and excesses. They are human beings with the same concerns as all humanity, for peace in their countries, the stability of their societies and the safety of their families. My investigation analyses the films through the theoretical lenses of Stuart Hall’s theory of representation (2012), Edward Said's Orientalism (1997), and decoloniality as advocated by Maldonado-Torres (2014) and Mignolo (2011). A postmodern reading of City of Life is made within Baudrillard's theory of hyperreality (2010), Lyotard’s concept of the grand narrative (1986) and Žižek’s concept of the dematerialisation of real life. A close reading of the films, using the research methods of semiotics and narratology, enables a deconstruction of some obscure elements, such as the embedded meaning in dialogue or the messages implicit in the mise en scène. In the process, cultural contradictions and similarities are explored and uncovered. / English Studies / D. Litt. et Phil. (English)

Thesis (MA (Visual Studies))--University of Pretoria, 2008. / Includes bibliographical references.

Svensk filmindustri idag finansieras huvudsakligen genom statliga medel. Dock finns det inte tillräckligt med finansiella medel jämfört det antal svenska filmer som produceras varje år. När finansieringen är otillräcklig kan det vara av största vikt att förstå och kunna arbeta med finansiell bootstrapping som verktyg för att kunna slutföra produktionen av filmen. Finansiell bootstrapping är ett begrepp som kan fungera som ett resursanskaffande verktyg för att tillföra resurser till en produktion till en lägre kostnad än marknadspriset, eller till ingen kostnad alls. Denna uppsats syftar till att undersöka om detta verktyg finns inom svensk filmproduktion – och i så fall vilka som använder verktyget och varför. Forskningen avser också att utreda tillvägagångssätt och tankar kring känslor om användandet, både inom kort- och långfilmsproduktioner. Vi har funnit att användning av finansiell boostrapping finns och är generellt sett mer frekvent använt i produktioner som inte är fullt finansierade. Förekomsten av användandet är oftast vanligare i kortfilm än i långfilm, men att det existerar inom båda formerna av filmproduktion samt att verktyget används av olika befattningshavare. Utsagorna om känslor kring användandet av finansiell bootstrapping är tvetydiga – det uppstår enligt respondenterna ofta positiva känslor när det finns en ömsesidig vinning mellan de berörda avtalsparterna, men också negativa känslor när utbytet av överenskommelsen är mest gynnsamt för den ena parten. / Contemporary Swedish film industry is financed mainly by government funding. However, there is potentially not enough funding in comparison to how many films are produced in Sweden every year. When funding is inadequate it could be paramount to master the concept and instrument of financial bootstrapping in order to complete a film. Financial bootstrapping is a term and tool regarding the acquirement of resources, albeit to a lower cost than market value or to no costs at all. This essay aims to investigate whether this phenomenon exist within the Swedish film industry, if so - who is using this tool and why. The research also intends to chart the approach and feelings of users both in short film as well as full feature film. We have found that utilization exists and is generally more frequent amongst films that are not fully financed. The occurrence is often more common in short films than in feature films; also it exists within the different levels of film production and is used by various positions. Thoughts regarding the practice of financial bootstrapping are ambiguous; there are positive approaches when there is a mutual gain between the relevant participants, but also, negative approaches when the benefits from the collaboration are divided unfairly.

本論文探討以實境學習觀點來培訓技職校院學生英語口語溝通能力的教學設計與實施。由於技職校院學生英語程度較弱，乃根據實境學習理論中的認知學徒見習期 (cognitive apprenticeship)的二個階段:觀察期(observation)及實作期(practice)來設計教學。在觀察期階段中，藉由觀賞英文電影讓學生觀察英語母語使用者之真實口語溝通情境及技巧；在實作期階段中，則指導學生為電影片段配音，目的在以影片做為前導與幫助(scaffold)，使學生在真實語言情境中建立英語口語溝通能力。本研究設計採用設計型研究（Design-based research）探討學生在此電影教學中的知覺及反應，研究結果顯示學生對電影配音活動的反應良好，例如能在其中觀摩英語母語使用者之口語技巧，較容易記得影片中英文單字及句子，以及建立開口說英語的自信與勇氣。 / This study is a design-based research focusing on the application of situated learning perspectives to the EFL classroom for the development of English oral communicative competence. Situated learning theory features cognitive apprenticeship, a learning process in which an apprentice learns a skill or knowledge from a master through the observation of expert process and practice with scaffolds (Brown, Collins, & Duguid, 1989; Lave & Wenger, 1991). In this study, a teaching project based on film dubbing activities was designed and implemented to 39 vocational college students, who were classified as lower-level EFL learners due to their limited English proficiency, with the purpose of developing their English oral communicative competence through cognitive apprenticeship. Film clips were viewed and instructed in class to provide the students with access to the social context of oral communication by native English speakers. After the students observed the expert process in the film clips, they were instructed to execute film dubbing tasks, in which they practiced oral skills with the scaffolds of the audio-visual presentation in the film clips. As a qualitative case study, the purpose of this study is to explore the students’ learning experiences, including their perceptions and reactions, in the teaching project. The research results reveal the students’ overall positive reactions to the film dubbing activities; for example, they were impressed by the opportunities to make close observation of real English use by native English speakers; they found it easier to remember English vocabulary and sentences through film dubbing activities; and they became more confident in speaking English.