In order to succeed in an intellectually, economically, socially, and politically controlled system, as México, one has to develop a sense of inner direction and empowerment, where critical thinking is vital yet patriarchy becomes an impediment to the development of an inner compass and empowerment when it shapes and controls the masses’ identity and behavior through different strategies, methods, and institutions. One of the most powerful and popular identity shaping strategies is film making. Film is considered by most as a source of entertainment portraying social interactions. Yet it is a powerful identity-shaping tool for the establishment. It has been used by the Mexican government and its associates, for a long time, in an effort to sustain the status quo and justify its existence and social performance. The selected methodology of this study allowed comparison and contrasting of messages transmitted about identity, behavior, role-identification, values, and life scripts, using films from three different periods of the development of México: agricultural (1920s-1950s), industrial (1950s-1990s), and neoliberal (1990s-today). Religion, social interactions, gender, ethnicity, and nation-states are some of the main themes that emerged from this exploration of identity and behavior shaping strategies used in the Mexican films analyzed. The Identity shaping strategies are an efficient way of dealing with conflict because controlling and constraining is done by the individuals rather than by the nation-state.

Critical discourses on contemporary digital cinema tend to be either overtly negative, framed within a rhetoric of loss or disenfranchisement, or unilaterally positive, celebrating the user agency and freedom digital technologies enable. Both these conceptual positions are unhelpful because they either focus on what contemporary digital cinema fails to do or what it should do, without examining more closely how it actually functions. What is needed is a third, neutral approach which takes both sides into consideration but is also aware of their limitations and weaknesses. This thesis takes as its impetus Giles Deleuze’s suggestion that, just like the cinemas of the movement-image and the time-image before it, contemporary digital cinema needs a basic will to art – a new aesthetic principle, a new function of the image, a new politics, a new representational potential distinct from those that have come before it. The aim of this thesis is therefore to establish this will to art and explore its ramifications for and manifestations in contemporary digital cinema. Taking into consideration a variety of filmic texts from the 1980s to the present day which prominently feature diegetically recorded footage, as well as amateur film-making practices from the home movies of the 1960s to the video clips now uploaded to online media sharing platforms, the increasing relevance of home media in the reception of contemporary digital cinema, and most crucially the process of convergence inherent in digital media, this thesis argues that the will to art of contemporary digital cinema is intimacy.

Student Number : 9905214K - MA research report - School of Dramatic Art - Faculty of Arts / South Africa’s film industry presently has huge, unrealised potential for growth. Currently one of the most vibrant sectors of the local industry is short filmmaking. This research’s main contention is that, for a number of reasons the short form is the most viable form for film-making development to take. The short film’s value as a training tool and essential building block for local film-making is scrutinized. To this end the research incorporates a content and form analysis of selected short films, with special reference made to the modes and economic conditions of production that affect the film industry. To conclude, I take the position that film-making, as a form of artistic and cultural dialogue, has tremendous possibilities for the development of a national identity, the creation and perpetuation of local myths and the fostering of social cohesion. For these reasons the short form is worthy of more concerted institutional support.

The power of the relationship between the photographic apparatus and migration is situated at a metaphorical crosslink between the two-dimensional outcome of marking borders on a map, or printing an image on a flat surface, and the time that affects the events that shape the very heart of that crosslink. The rigidity of borders, and sometimes their false ideas of flexibility can be seen on how recently Europe has proved (again) that ‘open boundaries’ is a non specific inclusive idea. The experience of migrants going through conflict situations is representative of the relationship between the ‘having to deal with’ the happenings, in most cases forced, and at the same time changing, transforming the landscape, leaving or bringing old and new values. Therefore the democratic power in this work is intended as the collective recognition of the importance of simple acts of looking, bringing values to the transformative nature of human beings. Because of its mechanical nature and the stillness of the images it produces, photography has the capacity to show transformation, with the quality of its materiality, which continuously challenges the users of photography in accessing different formats, since its invention. In the context of this work (Cartographers), photography becomes an inspiration for the concept, planning and making of the film process. Film can embrace elements that photography doesn’t have, like sound and duration, added to landscape and to portraits. These elements may help the viewer to understand a narrative that grows from a single trunk, the film, whose roots are holding onto the lightness of the sky instead of the thickness of the ground by representing, filmically, the expressions of the people who speak about their experiences. The ‘democratization of cartography’ – is in this written text considered as a shift of attention from the act of cartography to who makes it, the cartographers. Therefore map-making does not function as a merely two-dimensional outcome but as a nuance of an experience that is individual and collective. Cartographers reveals a map visible through the memory of a community of people who originate from the same place and have lived the same conflict (WWII) while being scattered across several different countries (Italy, France, Scotland). The work Cartographers, a film and series of archival aerial image, makes available the maps of these happenings, which memories are pulled together and suggest a reflection towards a democratic act of cartography making. The aim of this research is opposite to the creation of a cartography newly created by joining points from different journeys, experiences or concepts: in this work as the director of the film I have attempted to make emerge that the cartographers are aware of each other, their map is drawn collectively and everyday, and it does not join different points, but it starts from a single one and it explodes in different directions. The exploration of this work and research was made by attempting to represent what can be felt with the connection they have with the starting point. This is not only a process that looks at a certain community but is a dialogue with the memory of that community of cartographers which aids the understanding of the landscape that we traverse in our daily lives. With their memories, the subjects of the interviews - which I refer to as the Cartographers - leave a transparent but permanent trace that remains fixed in the landscape and makes it what it is today. The role of the artist in this case, is not the one of the ‘creator’ of a certain map, but the one that wipes the dust about to reveal the map of the treasure, and finds a way to show to the public, that the suspended moment of revelation, is the treasure itself.

This research investigates the development of digital video filmmaking in West Africa using Ghana and Burkina Faso as case studies within the context of new technologies. The key research questions that guided the study were how do the economic, social and political contexts of video filmmaking affect the development of a digital video film industry in Ghana and Burkina Faso? and how have the perceptions of digital technologies (held by filmmakers and other stakeholders) impacted upon the development of digital video film making in West Africa? Using field interviews with stakeholders in the video film industry in Ghana and Burkina Faso, as well as with the West African diaspora community in the UK, document research, textual references, and personal observation, the research discusses the challenges of new digital and video technologies, and their implications for the development of the video film industry. The research establishes that video and digital technologies are offering many people the opportunity to make films. There is however, a plethora of new digital technologies that enable the work of video film producers, which require closer examination. The research suggests that the impact of the digital revolution has been limited, and a number of factors account for this. The study offers recommendations that might contribute to discussions on finding solutions to the development of a professional, regulatory and practical video filmmaking environment. This would lead to the formulation of policies that impact positively on filmmaking in the region, and consequently increase the capacity of local productions to compete on the international film scene.

Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.

<p>This thesis is a study of documentaries about fictional feature films. The development of the DVD format has contributed strongly to their massive increase in quantity. The capacity of the format enables film companies to include more material than the feature film itself. As some people regard this type of documentary as self-righteous and presumtious, others think of it as a great educational aid giving the audience a greater understanding of the intentions of the director and others involved, thus adding more levels to the experience of watching movies. By using established theory on documentary I’m trying to find distinctive features of ‘documentary on fiction’.</p> / <p>I uppsatsen studeras dokumentärfilmer som behandlar spelfilmer. Det är en företeelse som växt starkt i och med lanseringen av det nya videoformatet DVD. Formatets kapacitet har möjliggjort att man kunnat inkludera mer material än bara själva filmen. Idag är det nästan självklart att man på något sätt dokumenterar arbetet med en film, men man gör det på många olika sätt och med olika syften. Det finns många åsikter om denna typ av dokumentär. Vissa röster hävdar att de endast kan vara självförhärligande och partiska, medan andra anser att de ger fiktionsfilmer ett större djup och tittaren en ökad respekt och förståelse för verket. </p><p>Jag vill med min undersökning hitta kännetecken för dokumentärfilmer om fiktionsfilmer och detta gör jag med hjälp av etablerad dokumentärfilmsteori. Genom analysen diskuterar jag bland annat filmernas funktion, problematik och relation till fiktionsfilmen. </p>

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-06-12T12:01:19Z No. of bitstreams: 1 Arquivototal.pdf: 3391668 bytes, checksum: 5bfbc005d4bd77755a693aa1e263e444 (MD5) / Made available in DSpace on 2018-06-12T12:01:19Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3391668 bytes, checksum: 5bfbc005d4bd77755a693aa1e263e444 (MD5) Previous issue date: 2017-06-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study. / Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.

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This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.