email@example.com, David Glyndwr Thomas
Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents. These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity
Hoenigsberg, Kate Leah Helena
Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at firstname.lastname@example.org. Thank you. / 2031-01-02
Christie, Elizabeth, email@example.com
Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it. Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacans theory of the four discourses, and focusing primarily on the oppositions of the Masters and the Analysts discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre. Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the norm that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.
M.Stein@murdoch.edu.au, Michael Stein
This thesis examines variations of the Chinese combat film, from its origins within cinema in 1949, through to the contemporary period. My argument transposes the critical approach of genre, as a popular style within conventional film criticism, to a specific Chinese form. In particular, this study investigates the combat film as a prevailing mode in Chinese cinema, with a particular history, form of progression and set of aesthetics. The argument initially applies the war film and combat genre categorisations to Chinese forms. Consequently three major variants emerge, manifest in the regulated (1949-1966), reformed (1980s) and renewed (1990s) styles, respectively. These modes are subsequently examined in rigorous narratological and cinematic contexts, resulting in an expanded conception of the Chinese combat film. This thesis offers an integrative appreciation of variegations of the Chinese combat film since 1949, sutured to wider discursive and socio-political changes within the country. Moreover, this argument produces a framework for a more expansive and complex comprehension of Chinese cinema, one undergoing continual modes of re-negotiation as the medium progresses into the Twenty First Century.
A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film mediumChen, Yeong-Rury, na. January 2006 (has links)
This doctoral research project intends to institute the study of the unique and significant Huangmei Opera film genre by pioneering in making a series of documentaries and writing an academic text. The combination of a documentary series and academic writing not only explores the relationship between the distinctive characteristics of the Huangmei Opera film genre and its enduring popularity for its fans, but also advances a film research mode grounded in practitioner research, where the activity of filmmaking and the study of film theory support and reflect on each other. The documentary series, which incorporates three interrelated subjects - Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and Brother Lian: Ling Po - explores the remarkable film careers of each figure while discussing the social and cultural context in which they worked. The section on Le Di introduces the subject of melodrama as a Chinese tradition. The section on Li Han Hsiang discusses Li's film aesthetics and his representation of a utopian Chinese world of the imagination. The final section focuses on the popularity actor Ling Po gained through her roles of male impersonation. All three topics provide an opportunity to rethink our understanding of the social, political and cultural forces that contribute to the genre, and to build an emotional connection between past and present for the viewers. Meanwhile, by interviewing those surviving key figures and assembling materials that have been lost, the documentary series not only fulfils the needs of many fans, but also serves field studies in the area by setting a direction in research and providing a valuable resource for scholars involved in Chinese film and cultural studies. It is both accessible to mainstream audiences and academically warranted. As an adjunct to the documentary series, the written text explores aspects of the same material in more depth through the use of structuralist methodology, and psychoanalytic, auteur and genre theories. The text combines these Western approaches with aspects of Chinese culture, philosophy and aesthetic traditions, proposing links between Chinese aesthetics and Western film theories that contribute new understandings to both Chinese and Western film studies. On the other hand, because these film theories were originally developed to study Western films, the Chinese origins of the Huangmei Opera film genre may challenge existing theoretical paradigms and so provide new interpretations. This doctoral project also includes a complete report of all phases of the documentary production and design process, and a unique, comprehensive filmography of Huangmei Opera films, and as such supplies a research foundation for both documentary filmmakers and academics who are interested in studying the Huangmei Opera film genre further.
Shooting the President : the depiction of the American presidency on film and television from John F. Kennedy to Josiah BartletBarber, Matthew David January 2009 (has links)
This thesis – Shooting the President: Screen Depictions of the American Presidency from John F. Kennedy to Josiah Bartlet – examines the depiction of the presidency in American film and television from 1960 until the present day. In this study I explore the relationships between the presidency and Hollywood, particularly in the context of genre structures. I examine the constructions of specific presidential mythologies based on the real presidencies of Kennedy, Nixon and Clinton and the construction of fictional presidencies in the television series The West Wing. In four sets of case studies, I will chart the changing significance of each president through different genres, looking particularly at how each presidential mythology is affected by the anxieties and fashions of the contemporary political and social world. I also examine the ways in which the appearance of presidentiality is created within each text by various means including set design, the choice of actor, the use of dialogue and the framing of particular characters. The aims of my thesis are to demonstrate how a telegenic style of politics formed during and after the Kennedy presidency can be seen to be both represented and enhanced in genre films and television series. I chart the relationship of this new mediated style of presidency through my case studies as it faces challenges such as Watergate, Clinton’s sex scandals and the terrorist attacks of September 11 2001. Finally, I aim to demonstrate through a close reading of the latter seasons of The West Wing how the American public can be seen to be prepared by its popular media for the success of the first black president, Barack Obama.
Selbo, Jule Britt
This practice-led PhD project consists of two sections: the first examines a breakdown of the components of film genre to be used as practical guideposts for my own creative practice as a screenwriter and (hopefully in the future) for other screenwriters; the second section contains my practical application – first acts of three screenplays that are constructed utilizing my research and subsequent assessments. Using a theoretic construct presented in the area of philosophy in the 1990s by cognitive theorist Gilles Fauconnier called ‘mental space’, a concept exploring a person’s natural inclination to construct a comprehensible idealized cognitive model (ICM) of any given situation in order to understand his or her role in it (Fauconnier 1994:8), I examine how Fauconnier’s concept can be applied to building a film narrative and specifically how it can be applied to a screenwriter’s understanding and breaking down of the components of film genre. I also employ the work of scholars focused on the audience’s reception, especially the reception of film genre. In the practical section of my practice-led PhD, the writing of the first acts of three screenplays that share location, similar core cast of characters and plot points but are constructed in three distinctly different film genres (western, horror, romantic comedy), I endeavor to apply elements I have termed the ‘mental space of film genre’ in order to determine the adjustments and changes necessary to move narrative from one genre to another in order to fulfill various genre perimeters and genre expectations. This work is meant to increase a screenwriter’s technical skills in the craft of screenwriting.
Sport in Film as a Cultural Phenomenon Abstract: The relationship between sport and the media has undergone rapid development in recent decades. The combination of television and top sport has created a specific and very influential genre of popular culture. Creating sporting stories, which is typical of the current media, is also an attempt to impress these stories in a more permanent and cohesive form. Sport therefore also features in the most varied of forms in the film media. This work presents a culturological, thus holistically and interdisciplinary-oriented, view of the phenomenon of sport in film. Firstly, sport as a part of popular culture is investigated. This includes the philosophical concept of the cultural phenomenon of games. The question is considered of the universal themes which typify the sport film genre. In order to explain the continuing popularity of sport film, a study of film is then undertaken with regard to the cultural dynamics to which research in the field of film genres also belongs. Thereafter, sport film is examined in terms of the cultural-anthropological categories of myth and ritual. In conclusion, this study concentrates on the ability of fictional and documentary films with a sporting theme to become representative of various ideologies. The same methodology is applied...
EmotiOn Track = representação do amor na trilha musical do cinema / EmotiOn Track : Representation of love in the Cinema Track MusicFranco, César Henrique Rocha 18 August 2018 (has links)
Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T11:31:42Z (GMT). No. of bitstreams: 1 Franco_CesarHenriqueRocha_D.pdf: 3052982 bytes, checksum: a83a06b9ef0319988ca875e92deb1155 (MD5) Previous issue date: 2011 / Resumo: Inicialmente, este trabalho procura delinear algumas definições preliminares como convenção, gênero, gênero fílmico, melodrama e o melodrama romântico, enquanto filme, partindo dos pressupostos gerais sobre as convenções musicais dos gêneros fílmicos, estabelecidos por Mark Brownrigg. Em seguida, e feito um exame mais detalhado das convenções musicais do gênero fílmico Melodrama Romântico, observando mais detidamente as características musicais, o emprego, as origens e possíveis significados de cada convenção no repertorio tradicional Ocidental. Depois, a analise de partituras de musicas que acompanham cenas de amor, investiga os procedimentos composicionais utilizados em temas musicais relacionados a cenas de amor. Por fim, o levantamento das convenções melódicas utilizadas na representação musical que acompanham, enfatizando, cenas de amor na narrativa audiovisual / Abstract: Initially, this paper seeks to outline some preliminary definitions as convention, genre, genre film, melodrama and romantic melodrama, as a film, based on the general assumptions about the musical conventions of film genres established by Mark Brownrigg. Then we make a closer examination of the musical conventions of the genre film romantic melodrama, observing more closely the musical characteristics, employment, the origins and possible meanings of each convention in the traditional Western repertoire. After the analysis of music scores that accompany love scenes, investigating the compositional procedures used in topics related to music love scenes. Finally, the survey of the conventions used in representing melodic music that accompany it, emphasizing, love scenes in audiovisual narrative / Doutorado / Musica / Doutor em Música
Puzzle-films e narrativas não-lineares no cinema fantástico: um estudo de caso de Abre los Ojos e YellaCarcereri, Pedro Felipe Leite 01 April 2015 (has links)
Submitted by Renata Lopes (firstname.lastname@example.org) on 2015-12-07T12:33:53Z No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Approved for entry into archive by Adriana Oliveira (email@example.com) on 2015-12-07T21:40:23Z (GMT) No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Made available in DSpace on 2015-12-07T21:40:23Z (GMT). No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) Previous issue date: 2015-04-01 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Puzzle-films são filmes que apresentam narrativas com estruturas não-lineares. Seu contexto envolve a apresentação de pistas que são usadas para chegar a uma conclusão. A presença dessas estruturas no gênero fantástico dá origem a uma estrutura narrativa interessante, com semelhanças e diferenças peculiares. O fantástico pode subverter a estrutura conclusiva do puzzle, como um quebra-cabeças montado, através do aspecto da hesitação que é inerente ao gênero fantástico, originando dessa maneira representações de um “desvio autorizado”. Para um estudo de caso foram escolhidos dois filmes: Abre los Ojos (Abre los Ojos, Espanha, Alejandro Amenábar, 1997, 117 min.) e Yella (Yella, Alemanha, Christian Petzold, 2007, 89 min.). É possível, a partir do estudo dos referidos filmes, encadear uma análise de como o puzzle e o fantástico se relacionam dentro de narrativas fílmicas e se as dicotomias estudadas ocorrem nas duas ocasiões. Pode-se traçar desta forma, alguns objetivos relevantes para o estudo. Os puzzle-films se relacionam com o gênero fantástico de maneira exclusiva ou relacional? O gênero fantástico serve como efeito subversivo da ordem final do puzzle resolvido, através de características de hesitação, transgressão, desvio e estranheza? Esse desvio pode ser motor de análise de possíveis reflexos de questões da sociedade contemporânea? Esses dois filmes, através de suas narrativas puzzle, são capazes de ser usados como exemplo para responder a essas questões? Feitas essas perguntas, partiremos então para a tentativa de respondê-las com uma metodologia e uma fundamentação teórica já bem consolidada. Aproximaremos-nos da questão de gênero através de uma perspectiva semântico/sintática pragmática. Quanto às questões do fantástico e dos puzzle, nos utilizaremos de pesquisas feitas no âmbito literário e cinematográfico. E, ao analisar a questão da transgressão, olharemos para teorias da sociologia do desvio para entender onde se localizam as representações dos outsiders. / Puzzle-films are films that present narratives with non-linear structures. Their context involves the presentation of cues that are used to arrive at a final conclusion. The presence of these structures in the fantastic genre results in an interesting narrative structure, with similarities and differences. Fantastic can subvert the puzzle conclusive structure, like a puzzle assembled, by the hesitation aspect that is inherent in the fantastic genre, giving this way representation of an "authorized deviation". For a case study we chose two films: Abre los Ojos (Abre los Ojos, Spain, Alejandro Amenábar, 1997, 117 min.) and Yella (Yella, Germany, Christian Petzold, 2007, 89 min.). It is possible so chain together from an analysis of how the puzzle and the fantastic relate in film narratives and studied dichotomies occur on both occasions. Then we can draw some important goals for the study. The puzzle-films relate to the fantastic genre exclusively or relational way? The fantastic genre serves as subversive effect of the final order of the puzzle solved through hesitation features, transgression, deviation and strangeness? This deviation can be an analysis engine of possible reflections of the contemporary societal issues? These two films through their narratives puzzle, are able to be used as an example to answer these questions? With these questions then we depart to the attempt to answer them with a methodology and theoretical foundation already well established. We will approach to the question of gender through a semantic perspective / pragmatic syntax. The questions of the fantastic and the puzzle we will use the research done in the literary and cinematic scope. And in discussing the question of transgression, we will look at the sociology of deviance theories to understand where are located the representations of outsiders.
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