This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault’s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness? / Thesis (Ph.D, Art History) -- Queen's University, 2010-09-23 11:09:40.235

Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer

Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice. Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film.

Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-10-14T14:17:32Z No. of bitstreams: 1 DissCEMVA.pdf: 7571691 bytes, checksum: 24d33e5ced801cbbe013d599c23518ee (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:48:58Z (GMT) No. of bitstreams: 1 DissCEMVA.pdf: 7571691 bytes, checksum: 24d33e5ced801cbbe013d599c23518ee (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:49:04Z (GMT) No. of bitstreams: 1 DissCEMVA.pdf: 7571691 bytes, checksum: 24d33e5ced801cbbe013d599c23518ee (MD5) / Made available in DSpace on 2016-11-08T18:49:11Z (GMT). No. of bitstreams: 1 DissCEMVA.pdf: 7571691 bytes, checksum: 24d33e5ced801cbbe013d599c23518ee (MD5) Previous issue date: 2016-07-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / At the end of the twentieth century and early twenty-first century, with the advent of digital technologies, the proliferation of the Internet and the cheapening of audiovisual equipment, new options have emerged to produce, distribute and show films. Among these options, highlight the practice of crowdfunding, one of crowdsourcing models, as an alternative possibility of national film funding. Nevertheless crowdfunding still a recent practice and little known in the country, with many platforms being launched and also closed, and the vast majority of funded projects are especially concentrated in the southeast region. This thesis sought to discuss this scenario, taking as its starting point the authors Jeff Howe and Henry Jenkins, and also Brazilian academic research on crowdfunding published until August 2015. The study subjects were the online community Crowdfunding BR and Brazilian platform of crowdfunding Catarse, focusing on projects of this platform in the category named Film and Video. The result indicates datas able to expand the reader's understanding and stimulate critical view of this practice, based on the presentation of its origins, organization mode, propagation around the world and it insertion in Brazil, making possible the understanding of the current context and the potential not yet explored of crowdfunding in the country. / No final do século XX e início do século XXI, com o advento das tecnologias digitais, a proliferação da internet e o barateamento dos equipamentos audiovisuais, surgiram novas opções para se produzir, distribuir e exibir filmes. Entre essas opções, destaco a prática do crowdfunding, um dos modelos de crowdsourcing, como possibilidade alternativa de financiamento do cinema nacional. Mesmo assim, essa ainda é uma prática recente e pouco conhecida no país, com muitas plataformas sendo lançadas e também fechadas, e com a grande maioria de projetos financiados concentrada especialmente na região sudeste. A presente dissertação buscou discutir esse cenário, tendo como ponto de partida os autores Jeff Howe e Henry Jenkins, bem como pesquisas acadêmicas brasileiras sobre crowdfunding publicadas até agosto de 2015. Os objetos de estudo foramcomunidade on-line Crowdfunding BR e a plataforma brasileira de crowdfunding Catarse, com enfoque nos projetos desta plataforma pertencentes à categoria denominada Cinema e Vídeo. O resultado aponta dados capazes de ampliarcompreensão do leitor e estimular sua visão crítica acerca dessa prática, partindo da apresentação de suas origens, modo de organização, difusão ao redor do mundoinserção no Brasil, possibilitando o entendimento do contexto atual e dos potenciais ainda pouco explorados pelo crowdfunding no país.

In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis demonstrates how the film High Fidelity successfully adapts the book through both point of view and the sound track to reveal Rob's narcissism and his growth as a character.

This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.

No description available.

The subject of this thesis are now almost extinct brick and mortar video rental stores that were a crucial film distribution window between theatre and television premiere only a few decades ago. The research focuses on the arrival of video rental stores run by small private entrepreneur in Prague 1990-1995 right after the country reinstalled its market economy. The text tries to reconstruct, describe and analyse six particular places of business via interviews with their owners and further archive materials - and in addition maybe ascertain reasons of their closure / continuance after 1995. Part of the thesis is also a list of 90 addresses of Prague video rental stores from around that time and basic figures of their arrangement.

The following text is an excerpt from the book Narrative Instability: Destabilizing Identities, Realities, and Textualities in Contemporary American Popular Culture, which was originally published in 2019 with Universitätsverlag Winter as part of the series American Studies – A Monograph Series. The book introduces the concept of ‘narrative instability’ in order to make visible a new trend in contemporary US popular culture, to analyze this trend’s poetics, and to scrutinize its textual politics. It identifies those texts as narratively unstable that consciously frustrate and obfuscate the process of narrative understanding and comprehension, challenging their audiences to reconstruct what happened in a text’s plot, who its characters are, which of its diegetic worlds are real, or how narrative information is communicated in the first place. Despite—or rather, exactly because of—their confusing and destabilizing tendencies, such texts have attained mainstream commercial popularity in recent years across a variety of media, most prominently in films, video games, and television series. Focusing on three clusters of instability that form around identities, realities, and textualities, the book argues that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narrative instability embodies a new facet of popular culture, that it takes place and can only be understood transmedially, and that its textual politics particularly speak to white male middle-class Americans.