Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 199-221). Also available on the Internet.

This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 122-129). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Ohio State University, 2008.

Orientador: Nuno Cesar Pereira de Abreu / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T16:44:22Z (GMT). No. of bitstreams: 1 Canepa_LauraLoguercio_D.pdf: 62092455 bytes, checksum: aeaa4fb7ba2110dbe657a81456b35c36 (MD5) Previous issue date: 2008 / Resumo: Neste trabalho, examinam-se as manifestações do gênero horror nos longas-metragens sonoros brasileiros realizados entre 1937 e 2007, elaborando-se um panorama histórico desses filmes, desde os primeiros registros cinematográficos deste gênero de ficção no cinema nacional até os mais recentes, e propondo-se um modelo descritivo para as configurações do horror ficcional no cinema brasileiro. Para isso, partiu-se dos estudos de gêneros cinematográficos, de história do cinema mundial e de história do cinema brasileiro, procurando-se desenvolver ferramentas de análise que permitam elaborar um panorama dos filmes, e explorando-se a possibilidade de falar-se de estilos especificamente brasileiros para o tratamento cinematográfico do horror / Abstract: This thesis examines the manifestations of the horror genre in Brazilian movies made between 1937 and 2007, under a historical outlook, since the first cinematographic registries of this genre, to the later ones. The theoretical approach of this work starts from genre cinematographic studies, passes over cinema¿s history and Brazilian cinema¿s history, looking out for the development of analytical tools which allow elaborating an overview of the films, exploring the possibility of marking a specific Brazilian brand of horror films and a specific Brazilian approach on making horror films / Doutorado / Doutor em Multimeios

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:14:26Z (GMT). No. of bitstreams: 1 Bonotto_Andre_D.pdf: 1848375 bytes, checksum: 9e343d28c56e7da9003abd8e3b754128 (MD5) Previous issue date: 2014 / Resumo: Este trabalho analisa o pensamento do filósofo analítico Noël Carroll a respeito do cinema documentário. Sua abordagem sobre o documentário envolve os temas da objetividade, de intenções autorais, da indexação das obras e da dimensão do traço histórico das imagens. O ponto principal deste pensamento localiza-se em sua teoria do cinema da asserção pressuposta, o que constitui sua definição conceitual para este gênero fílmico. Apresentamos, de início, a formação filosófica e cinematográfica deste autor, ressaltando a posição que ele ocupa no campo dos estudos de cinema e as características do método da filosofia analítica, que ele adota. Examinamos, a seguir, os textos onde Carroll apresenta seu pensamento sobre o documentário, discutindo detalhadamente os elementos presentes em sua teorização. Após isso, problematizamos alguns pontos de sua teoria, como o conceito de asserção, a relação entre as posturas mentais ficcional versus assertiva, e o papel do significado. Apontamos, por fim, relações entre o projeto teórico de Noël Carroll e outras abordagens no campo de estudos do cinema documentário / Abstract: This thesis analyzes the thought of the analytic philosopher Noël Carroll on documentary film. His approach to documentary involves issues of objectivity, authorial intentions, indexing works, and of the historical trace of images. The core of this author's thought lies in the theory of films of presumptive assertion, that which constitutes his conceptual definition for this filmic genre. It is presented, at first, the philosophical and filmic training of this author, with consideration towards the position he occupies in the field of film studies, and towards the method of analytic philosophy he adopts. Works where Carroll presents his thoughts on documentary are, then, examined, with detailed discussion on the elements that compose his theorizing. After that, some points of his theory are problematized, as the concept of assertion, the relation between fictive and assertoric stances, and the role of meaning. Finally, some comments are made about Noël Carroll's theoretical enterprise in relation to the broader field of documentary film theory / Doutorado / Multimeios / Doutor em Multimeios

Thesis (M. A. (Media Studies)) -- University of Limpopo, 2021 / The study investigates the popular South African feature film entitled Safarina (1992) and its depiction of young South Africans’ resistance against the apartheid system during the 1970s through the 1980s. It analyses how Sarafina portrays the socio-cultural and political environment that characterised the apartheid modus operandi; explores the film’s ideological frames of societal dissent during apartheid and examines Sarafina’s cinema verité and application of symbolism in portraying the historical context and narrative of the South African struggle for freedom. The study refers to extensive literature about film as an artistic medium, dynamics in film genre, its role in representing societal dissent, application of filmic elements in technical production and relevance of symbolism in film criticism. The theoretical framework entails two theories, namely Framing and Ideological Film Criticism. The study adopted the qualitative descriptive case study design cognisant of its ability to provide a complex visual and audio-textual description of the events represented during the period under study. It used purposive sampling to select the film Sarafina to elucidate the contours and experiences of the apartheid system in pre-democratic South Africa. Methodological techniques used in the study involved audio-visual content analysis during the data collection process and thematic analysis from which discursive themes were generated and findings were derived. The findings of the study demonstrate the representational etiquette of Sarafina to bring out significant political and cultural memories of the struggle for freedom with potential to create conducive spaces for positive social, cultural and political benefits for the contemporary South African society. The study concludes by recommending the usage of Sarafina and other forms of film genre, not only as artefacts for preserving historical experiences, but also to promote active citizenship, good democratic governance, and effective service delivery in post-apartheid South Africa.

El doblaje y la subtitulación son las dos modalidades de traducción audiovisual (TAV) más practicadas en la actualidad que permiten al público tener acceso a películas extranjeras en su lengua materna. Y Perú no es ajeno a esta realidad. Sin embargo, los estudios en el campo del doblaje y la subtitulación orientados a las preferencias del público por una u otra modalidad son escasos en Latinoamérica y, en particular, en Perú. Para subsanar este vacío, el presente estudio cuantitativo busca dar a conocer cuáles son las preferencias de los estudiantes universitarios en torno al doblaje y a la subtitulación de géneros de cine, así como las opiniones sobre cada una de estas modalidades. Se empleó una metodología cuantitativa por medio de un muestreo de tipo intencional que incluyó la aplicación de 200 encuestas a estudiantes de dos universidades (una privada y una pública) de Lima, Perú, y su posterior análisis. Los resultados mostraron que hay una mayor preferencia por la subtitulación y que los géneros que mejor se adecúan a esta modalidad son el drama, el romance y la ciencia ficción. Por otro lado, el género animado es el más adecuado para ser doblado según los encuestados. Asimismo, a partir de las diversas opiniones en torno a la TAV, se puede inferir que existe cierto desconocimiento por parte de los encuestados en cuanto a los procesos y la naturaleza de este tipo de traducción. / At present, dubbing and subtitling are the two most practiced modes of audiovisual translation (AVT), which allow the public to watch foreign movies in their mother tongue. Peru is not alien to that reality. Nevertheless, there are very few studies in Latin America, and more specifically in Peru, focusing on the public preferences for one mode of AVT or the other. In this sense, this quantitative study seeks to know the preferences of university students in regards to dubbing and subtitling of film genres, as well as the opinions about any of these modes. This study employed a quantitative methodology (surveys) with a purposive sample of 200 students from two universities in Lima, Peru (one private and one public). The results showed that there is a greater preference for subtitling and the genres that best suit this mode are drama, romance, and science fiction. As for dubbing, animation is the genre most suitable to be dubbed according to respondents. In addition, considering our respondents’ opinions about AVT, we can infer that their knowledge of the processes and nature of AVT is very limited. / Tesis

This dissertation explores the embodied and sensory dimensions of fantastic film, those elements that are generally held up in contrast to and, often, in excess of, narrative structure. I suggest a departure from the traditional approach to genre study which has been preoccupied with narrative formulas, themes, and iconographies. My goal is not to dispense with those kinds of analyses but to complement them and, importantly, to point to some neglected dimensions of genre pleasure. I propose to transform the presumably excessive pleasures of the fantastic genre into something essential to it. First, I explore the disavowal or avoidance of embodied sensation within popular genre criticism. I then turn to critique existing models of film reception, focusing particularly upon a critique of the ocularcentric or visualist framework. From this critique, I am able to suggest some criteria for an alternative theoretical model based upon embodiment. I propose a theoretical framework based, first, on the phenomenology of Maurice Merleau-Ponty, who demonstrates that human subjects are constituted materially and culturally through their perceptual relations within the world. Second, I rely upon a further interpretation of this phenomenology by the American philosopher Don Ihde. Ihde’s work, configured as “postphenomenology,” draws variously from technoscience studies, the philosophy of science, feminist, and posthumanist theory, and sketches a system for the application of an experimental phenomenology. With this method, I explore various embodied, sensational aspects of fantastic genre films, i.e., spectacle, gore, musical genre conventions. I describe and relate these aspects of fantastic film to other cultural venues, exploring common themes and structures among them. From this, I draw some conclusions as to the nature of these sensational genre pleasures for embodied human individuals. Simultaneously, I consider the possibilities for embodied difference among individuals. / text

Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país. / This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.