The subject of the dissertation is a school for education in motion picture production which includes sufficient cinema spaces to accommodate entertainment for students and the general public. The building acts as a social anchor addressing access for and movement of pedestrians through the site, and allowing transparency of the educational process. / Dissertation (MArch(Prof))--University of Pretoria, 2009. / Architecture / unrestricted

隨著社會與科技發展，電影教育之規劃也持續改變，特別是數位科技的浪潮衝擊下，電影教育的變化也隨之加劇。本研究之目的即在探討美國電影教育如何受到電影產業對、社會及科技的影響。本文以University of Southern California, New York University, University of California-Los Angeles, and Syracuse University 這四個學校為主要研究對象，針對其自1960年代迄今的電影教育規劃、學位授與設計、和課程結構進行整理分析，以試圖理解電影教育與產業、社會與科技變化之關係，並透過文獻研究與專家深訪，加以驗證。此研究發現電影教育機構透過新課程的開設、學程提供及學位授與規定的調整等等方式，反應產業、社會、科技的變化。雖然電影創造的本質並未改變，但其本質及概念仍持續影響學校電影課程的外貌。 / American film education system is changing, particularly in light of the digital technology boom. Just how American film education has evolved with regards to the market, social, and technical influences is the objective of this research. Four schools--University of Southern California, New York University, University of California-Los Angeles, Syracuse University--and their undergraduate and graduate curricula from 1960s to present are examined. Qualitative explanations are supported by interviews with administrators and instructors. The study finds that technological developments play an important role in the evolution of American film education by engendering the creation of new courses, programs, departments, and degrees. Yet, the fundamentals of filmmaking have not changed, and schools’ origin and philosophy remain influential factors in shaping the film curriculum.

For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?