Thesis (Ph. D.)--University of Texas at Austin, 1976. / Vita. Includes bibliographical references (leaves 343-353). Also issued in print.

Thesis (Ph. D. in German)--Vanderbilt University, 1992. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 166-183).

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 46-48).

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 46-48). Also available in print.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Iowa, 2007. / Supervisors: Louis Schwartz, Mitsuhiro Yoshimoto. Includes bibliographical references (leaves 255-267).

Submitted in partial fulfillment of the requirements for the degree Master in Arts In the Department of Film and Television Faculty of Humanities University of the Witwatersrand March 2017 / Drawing on Carol Clover’s theory of the male antagonist or "Bogeyman" and the female protagonist or "Final Girl" that define the American Slasher Horror sub-genre, I analyzed two original Slasher films, namely Halloween (Carpenter 1978) and A Nightmare on Elm Street (Craven 1984). I later outlined the evolution of these conventions within the Slasher sub-genre, using the remakes of both films respectively. I then endeavoured to explain the subversion of these conventions in France with the New French Extremity Movement, and analyse how these filmmakers successfully transposed a typical American subgenre to France. Finally, using New French Extremity, I attempted to subvert and transpose these conventions to South Africa by writing, producing and directing a short Slasher film titled The Teddy Bear Man. / MT2018

No description available.

This thesis stems from a general interest in press coverage of culture industries and products and the ways in which it links them to contemporary social and political concerns. The present project specifically takes The Globe and The Toronto World, two of the major daily newspapers of Toronto, as its combined object of analysis. It selects particular events and periods during the emergence of early film as popular amusement as the contexts for the study of articles, reports, columns, and editorials that centred around urban cultural issues as well as cinema. It explores the extent to which these particular events and periods figured in the papers' attention upon the new medium and its place in the everyday life of the city. These contexts were selected with an assumption of their newsworthiness for the daily press. However, upon examination it became evident that, while the majority of them did produce a concentrated attention in both dailies, not all of them did. Still, because they instantiated profound shifts in urban entertainment at the turn of the century, they were kept as historical backgrounds for the analysis of the newspapers's construction of modern culture. (Abstract shortened by UMI.)

Thesis (Ph.D.) -- University of Adelaide, School of Humanities, Discipline of French Studies, 2006. / "November 2006" Bibliography: leaves 246-274. Also available in a print form.