This dissertation uses quantitative data on city cinematography and the morphological study of filming locations to identify how differences in ways of seeing cities, as shaped by cinematographic choices, are anchored both in differences in what is physically present as well as in differences in frameworks and expectations about what might be interesting or important to see. Four films are evaluated that are set in Los Angeles and New York, two cities recognized as paradigms in American urbanism: The Naked City (1948), The Long Goodbye (1970), Goodfellas (1990), and Pulp Fiction (1994). In general, the New York movies suggest the embeddedness of the individual in the city and its social life in ways tied closely to urban form, with the visual presentation of the street acting as an index to the position of the individual within the narrative. Los Angeles, by contrast, presents the city as a series of enclaves linked by infrastructure. The street as a sociologically relevant entity hardly exists, with the exception of a handful of chase scenes, as though only crisis can catalyze direct encounters with the streets of Los Angeles. Within individual movies, the depiction of city form reveals directorial idioms in the presentation of the narrative. The Naked City exploits corner shots to impart greater visual interest to the presentation of activity in the streets. The Long Goodbye shows the degradation of the distinction between public and private space as concurrent with a city form and culture that resists decoding. Goodfellas develops a grammar of views on the street that corresponds to the relationships of individual characters to overlapping social groups over time. Pulp Fiction mainly presents city locations as decontextualized to focus on dialogue and relationships, to sculpt urban form to meet the exigencies of the narrative, and to all the more powerfully introduce surprise. In the concluding chapter, the qualities of the city as presented in Goodfellas and Pulp Fiction and both of the cities are diagrammed and discussed relative to architectural precedents and ideas that might inform architectural design.

My thesis examines how the contemporary restorative justice movement frames itself in educational, informational and training films, in an attempt to broaden its appeal and advance its acceptance and implementation, particularly within a culture of crime control where retribution and punishment are hegemonic. I examine contemporary restorative justice, first through an acknowledgement of its varied and diverse roots as well as through its entrenchment within the dominantly punitive criminal justice system. Contemporary restorative justice is often referred to as a social movement, and as such it maintains a capacity to reshape the current discursive terrain and transform criminal justice culture. Snow and Benford (1986, 1988) assert that social movements disrupt hegemonic discourses and practices through frame alignment tasks (diagnostic, prognostic and motivational framing) and frame alignment processes (bridging, amplification, extension and transformation). I examine how the contemporary restorative justice movement utilizes these tasks and processes in information, educational and training films, in its effort to advance an alternative perspective of criminal justice.

My thesis examines how the contemporary restorative justice movement frames itself in educational, informational and training films, in an attempt to broaden its appeal and advance its acceptance and implementation, particularly within a culture of crime control where retribution and punishment are hegemonic. I examine contemporary restorative justice, first through an acknowledgement of its varied and diverse roots as well as through its entrenchment within the dominantly punitive criminal justice system. Contemporary restorative justice is often referred to as a social movement, and as such it maintains a capacity to reshape the current discursive terrain and transform criminal justice culture. Snow and Benford (1986, 1988) assert that social movements disrupt hegemonic discourses and practices through frame alignment tasks (diagnostic, prognostic and motivational framing) and frame alignment processes (bridging, amplification, extension and transformation). I examine how the contemporary restorative justice movement utilizes these tasks and processes in information, educational and training films, in its effort to advance an alternative perspective of criminal justice.

SOARES, Aline Rebouças Azevedo. Iracemas do cinema: um estudo de adaptações. 2017. 146f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-07-04T16:53:59Z No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-07-25T14:19:40Z (GMT) No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) / Made available in DSpace on 2017-07-25T14:19:41Z (GMT). No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) Previous issue date: 2017 / The character Iracema, of the novel of Jose de Alencar was conceived to become the mythical mother of Brazil. A little more than a hundred years later, Carlos Coimbra canonically adapts to the cinema the beautiful and courageous India in Iracema, a virgem dos lábios de mel (1979). However, four years earlier, Jorge Bodanzky and Orlando Senna had conceived in Iracema, uma transa amazônica (1974) a mundane Iracema, with traits that the virgin of the lips of honey could never have, since she was created to be close to the divine and the chastity. This work approximates these motion pictures from the reinvention of its Iracemas and the foundation project of Alencar. We raise a theoretical discussion about the cinematographic adaptation and certain aspects that relate to it, such as the concepts of translation and transcription, the paradigm of fidelity, bereavement in translation and the question of authorship. We investigated the characterization of Iracema de Alencar from his mythical heroine traits and established some parallels between characteristics of classic heroines, such as Pocahontas, whose biography gained contours of myth; Atala, character of the novel of François-René de Chateaubriand; and Dido, Camilla and Lavinia, three characters from the Roman epic "Aeneid", by Publius Virgilio Maro. We then traced the profiles of Iracema of Coimbra and Iracema of Bodanzky and Senna, from some techniques of film analysis, such as study of plans and sequences and analysis of the film as narrative. We approach the characters from their counterpoints and elaborate a reflection on a trait identified in both: the erotization process. From the bibliography that guided the elaboration of this work we can highlight the studies of Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont and Laura Mulvey. We conclude with a reflection on the importance of the history of Brazilian cinematographic productions and the large amount of material we have available for studies in academic research. / A personagem Iracema, do romance indigenista de José de Alencar foi concebida para tornar-se a mãe mítica do Brasil. Pouco mais de cem anos depois, Carlos Coimbra adapta canonicamente para o cinema a bela e corajosa índia em Iracema, a virgem dos lábios de mel (1979). Todavia, cinco anos antes, Jorge Bodanzky e Orlando Senna haviam concebido em Iracema, uma transa amazônica (1974) uma Iracema mundana, com traços que a virgem dos lábios de mel jamais poderia ter, já que foi criada para estar próxima ao divino e à castidade. Este trabalho aproxima esses filmes a partir da recriação de suas Iracemas e do projeto de fundação alencarino do Brasil. Levantamos uma discussão teórica acerca da adaptação cinematográfica e determinados aspectos que a ela se relacionam, como os conceitos de tradução e transcriação, o paradigma da fidelidade, o luto na tradução e a questão da autoria. Investigamos a caracterização da Iracema de Alencar a partir de seus traços de heroína mítica e estabelecemos alguns paralelos entre características das heroínas clássicas Pocahontas, cuja biografia ganhou contornos de mito; Atala, personagem do romance de François-René de Chateaubriand; e Dido, Camila e Lavínia, três personagens da epopeia romana “Eneida”, de Públio Virgílio Maro. Traçamos, então, os perfis da Iracema de Coimbra e da Iracema de Bodanzky e Senna a partir de algumas técnicas de análise fílmica, como estudo de planos e sequências e análise do filme como narrativa. Aproximamos as personagens a partir de seus contrapontos e elaboramos uma reflexão sobre um traço identificado em ambas: o processo de erotização. Da bibliografia que norteou a elaboração deste trabalho podemos destacar os estudos de Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont e Laura Mulvey. Encerramos com uma reflexão acerca da importância histórica das produções cinematográficas brasileiras e da numerosa quantidade de material de que dispomos para estudos em pesquisas acadêmicas.

G. Hays II American "Foreign Policy" in Film Abstract This work takes David Campbell's concept of "foreign policy," as applied to American elite identifiers, and expands its application to sub-elite identifiers as well. As with Campbell's analysis of American identity, the common context is international conflicts where the United States is a participant. The discourse of the elite is represented by State of the Union Addresses covering the times of the conflicts, while the sub-elite discourse is represented by major war films about those same conflicts. While Campbell's argument implies that there should be a common resultant identification of the elite and sub-elite identifiers, this is not the case. Across time, conflicts, and administrations, the elite identifications stress hierarchy and order, as was also concluded by Campbell. Across time, conflicts, and productions, the sub-elite identifications stress proximity of experience and right action. The identifications of the two groups, while both laying claim to the identity of "America", are in conflict with each other. Through the analyses and conclusion, this work challenges the dominant post-structuralist concept of the "inside"/"outside" of a political-identificational space (only relevant for the elite) and suggests in its place the more fluid and...

In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.

This thesis engages with the relationship between national identity, security-based narratives, and foreign policy. It focuses on the 1982 Lebanon War as the most controversial in Israel's history because it violated the Israeli societal norm of only fighting wars of self-defence (when there is no alternative to war). Through an examination of Israeli films about the 1982 war – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir and Lebanon – this thesis studies the identity crisis experienced by Israelis after the invasion of Lebanon and the coping mechanisms that helped Israeli society reconcile the war with the security-based narratives that inform collective identity in Israel. / Cette thèse a pour objet la relation entre l’identité nationale, les récits sécuritaires et la politique étrangère. Elle se base sur la Guerre du Liban de 1982 en tant que guerre la plus controversée des guerres israéliennes en raison de sa contradiction avec la norme israélienne de seulement mener des guerres de légitime défense (à savoir lorsqu'il n'y a aucun autre recours que la guerre). À travers un examen des films israéliens qui traitent de la guerre de 1982 – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir et Lebanon – cette thèse discute de la crise identitaire vécue par les Israéliens à la suite de l'invasion du Liban et s’intéresse aux stratégies d'adaptation qui ont aidé la société israélienne à réconcilier la guerre avec les récits sécuritaires qui font partie de la construction de l'identité collective israélienne.

The film <em>Der Untergang</em> (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph <em>Der Untergang</em> (2002) and Traudl JUNGE's and Melissa M??LLER's <em>Bis zur letzten Stunde</em> (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'F??hrerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers. <br /><br /> After surveying a variety of films that portray Adolf Hitler, the thesis analyses <em>Der Untergang</em> by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past. <br /><br /> The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler. <br /><br /> Finally, this thesis maintains that <em>Der Untergang</em> gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three decades, it analyzes the relationship between the conspiracy theory genre, the "crisis of confidence" in the American society, and the process of formation of American national identity.

O objetivo desta tese é propor uma comparação das formas como o espaço e o tempo são elaborados em filmes das mais diversas inclinações, a fim de estabelecer alguns parâmetros do que seria a composição fílmica de maneira geral. A hipótese central é que uma análise comparada dessas formas possibilita organizar uma visão de conjunto do cinema: uma visão descritiva, não prescritiva; uma visão baseada nas próprias estratégias composicionais utilizadas pelos cineastas, mais do que em teorias externas. Para realizar essa investigação, será proposto um esquema em três partes que permite um diálogo com a bibliografia tradicional e que serve como referência para a análise dos filmes. / This thesis proposes a comparative study of the modes by which space and time are constituted in films of various dispositions, in order to establish the parameters of what would be film composition in a more general sense. The central hypothesis is that a comparative analysis of those forms enables us to organize a more unified point of view towards the films: a point of view which is descriptive, not prescritipve, and which is based on the strategies utilised by the filmmakers themselves, more than on preconceived theories. In order to advance this, we propose a three-part structure which serves as a reference to compare both theoretical writings and the films to be analyzed.