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This dissertation centers on amateur films produced by Americans traveling to Asia in the mid-twentieth century. I examine the style and content of these films and place them in conversation with industrially produced media to elucidate their distinct aesthetic and means of production. Examining the amateur travel films of both tourists and soldiers, I investigate to what extent American filmmakers absorbed commercial cinema's racialized construction of Asia and how, if at all, their films depart from or even undermine such constructions. I posit that while these films certainly reflect Hollywood's orientalism, their unpolished, unguided nature also offers limited space for historically underrepresented Asian communities to (re)present themselves. Further, these amateur travel films prove powerful artifacts for exploring contemporaneous American social relations, including early-twentieth century gender roles, the sexual identification and desire of wartime soldiers, and the disillusionment of the Vietnam era. Filmmakers under discussion include an American diplomat serving in China, several women educators, and a number of soldiers who served in WWII or the Korean War or the Vietnam War. Engaging with anthropologists, film scholars (particularly those interested in amateur and ethnographic filmmaking), and cultural historians, I seek to demonstrate the scholarly value of the amateur travel film, suggesting that its polysemy and distinctive style merit further analysis for us to deepen our historical understanding of these films and their makers, but also of the film form at issue and of the cultural image the U.S. held of Asia and the Pacific during the time under investigation. / 2026-09-06T00:00:00Z

This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-­engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.