Thesis (Ph.D.)--University of Melbourne, Dept. of English with Cultural Studies, 2001. / Typescript (photocopy). Includes bibliographical references. (leaves 247-266).

Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003. / A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.

Thesis (Ph.D.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2009/06/11). Includes bibliographical references.

Thesis (Ph.D.)--University of Waikato, 2009. / Title from PDF cover (viewed December 16, 2009). Includes bibliographical references (p. 291-314)

Thèse (M.A.) -- Université Laval, 2009. / Bibliogr.: f. 117-130. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Thesis (Ph.D. (Economics and Economic History)) - Rhodes University, 2006.

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This dissertation documents and analyzes the reception of Japanese films in the French film journals of the 1950s, when postwar Paris was awash with cinephilia. The foremost of those journals, Cahiers du cinéma, began publication in 1951, the same year as Japanese cinema’s breakthrough into international film culture with the surprise victory of Akira Kurosawa’s Rashõmon at the Venice Film Festival. Previous scholarship has amply credited the critics at Cahiers with reinventing the tenets of film criticism and launching the French New Wave, but without focused attention on the Japanese case. Meanwhile, reception studies of Japanese cinema in the postwar West have tended to concentrate on the United States’ hegemonic position vis-à-vis the Japanese film industry. Entwining those two strands, I investigate how Cahiers’ sustained but selective engagement with Japanese cinema fueled intergenerational conflicts within the journal and debates with rival journal Positif, helped crystallize the key tenets of auteur theory and mise-en-scène, and navigated between orientalist notions of authentic national cinema and the vexed ideal of cinema as a universal language. In addition to mining the film journals, I draw on the rich archive of the Cinémathèque Française for unpublished quantitative data and correspondence related to screenings of Japanese films and Japan’s entries in the European film festival circuit, especially Cannes. This factual record underscores my argument that the French critics used Japanese cinema subjectively as a malleable canvas for limning their own partisan aesthetics and passionate advocacy for cinema as the seventh art. After setting the scene of 1950s cinephilia, I trace Cahiers’ encounter with the unknown of Japanese cinema which resulted in reactions from stunned amazement, through enthusiastic viewership and awareness of Japan’s already thriving film industry, to reaction against the exotic seductions of Japanese films suspected of having been made solely for export to the West. In particular, I show how Cahiers’ championing of the “incomparable” Kenji Mizoguchi as the first non-Western director admitted to their pantheon of world-class auteurs emerged from a decade of polarizing head-to-head comparisons with Mizoguchi’s increasingly disparaged countryman Kurosawa. My transregional approach thus taps and commends a fertile vein in historicocritical film studies.

Crisis communication has been widely researched for an economic purpose, with the focus on preventing damage to a corporation’s reputation or the restoration of a politician’s image. Additionally, crisis communication also found its utility for natural hazards as well as for terrorist attacks. However, identified as being a research gap, this thesis focuses on studying the prepared crisis communication of mega-event and festival organizations in case of a serious incident. The purpose of this thesis is to contribute to the area of crisis communication in the way that it focuses on the process of preparing for a possible crisis with the creation of effective communication manuals, action plans, etc. rather than investigating the post-crisis communication. Through using the uncertainty reduction theory and the chaos theory, it is possible to investigate the internal crisis management processes of organizers that go beyond protecting its reputation, but focus more on saving human lives as uncertainty and chaos get reduced. A deductive approach was taken through conducting interviews and carrying out a thematic analysis of written documentary sources, such as manuals and action plans, as well as the transcripts. In general, one can say that the awareness about the importance of a crisis management and communication plan rises. Regular trainings and a constant collaboration with external partners, such as the blue light organizations, are seen as central to the emergency planning process. Moreover, to guarantee an effective crisis communication, often smaller task groups within the crisis management team are in charge of instructional crisis communication. Knowledge about different threat-scenarios and functions of external specialists reduces uncertainty and supports actions to reduce chaos. This thesis and its findings have a societal relevance, in the sense that it allows a wider and deeper understanding of crisis communication in an area of application that does not seem to be very common. Through insights into the crisis management process of the different event- and festival organizations, one can become active today and threats to human lives can be minimized or even avoided in the future.

Este trabalho tem como foco de interpretação histórica a produção musical autoral dos compositores riograndinos destinada à participação em festivais de música realizados ao longo da década de 1970 na cidade do Rio Grande – RS. Neste sentido, balizando a pesquisa em uma abordagem contextual, procuro descrever como os artistas da época, desvinculados dos meios de comunicação, da indústria do disco e do mercado cultural, produziam suas canções, em um ambiente hostil, onde a censura, a repressão e a tortura, foram práticas comuns, e os festivais de música um dos poucos canais de expressão cultural da população local, ainda que sofressem a interferência direta de grupos ligados as elites políticas e econômicas que possuíam interesses bem definidos quanto aos proveitos que estes eventos poderiam reverter. / This work focuses on the historical interpretation of the musical production of composers riograndinos copyright intended participation in music festivals held throughout 1970 in Rio Grande - RS. In this sense, it marks out the research in a contextual approach, I try to describe how the artists of the time, unlinked media, the recording industry and the cultural market, producing their songs in a hostile environment, where censorship, repression and torture, were common practices, and music festivals one of the few channels of cultural expression of the local population, though suffered direct interference from groups linked to political and economic elites who had well-defined interests regarding the income that these events could reverse.