Global ETD Search

81	Enseñar cultura a través del cine español Hadley-Miller, Linda D. 18 June 2007 (has links) Indiana University-Purdue University Indianapolis (IUPUI) / El uso del cine en el aula provee a los estudiantes oportunidades visuales en combinación con las auditivas de oír la lengua meta con las sutilezas y los matices de los hispanohablantes. Es decir, el cine les proporciona la inmersión en la lengua auténtica. Las imágenes les permiten a los estudiantes sentirse parte del país, involucrados con las personas, las situaciones y las circunstancias de la vida cotidiana. Second language acquisition Motion pictures -- Study and teaching Spanish language -- Study and teaching Spanish language materials Motion pictures -- Spain -- History
82	Playing the Big Easy: A History of New Orleans in Film and Television Joseph, Robert Gordon 18 April 2018 (has links) No description available. Film Studies American Studies Geography History Mass Media New Orleans Film History Film Studies Cultural Studies Geography Television Studies Cityscapes Spectacle Cultural Studies Hurricane Katrina A Streetcar Named Desire Panic in the Streets The Big Easy Deja Vu Treme Tourism Creole Cajun
83	The origins and development of media education in Scotland Powell, Mandy January 2010 (has links) This study combines analytical and narrative modes of historical enquiry with educational policy sociology to construct a history of media in education in Scotland. It uses the development trajectory of a single case, media education in Scotland's statutory education sector, to deconstruct and reconstruct a history of the institutional relationship between the Scottish Film Council (SFC) and the Scottish Education Department (SED) that stretches back to the 1930s. Existing literature describes media education in Scotland as a phenomenon located in the 1970s and 1980s. This study disaggregates media education discourse and dissolves chronological boundaries to make connections with earlier attempts to introduce media into Scottish education in the context of Scotland's constitutional relations within the UK. It employs historical and socio-cultural methods to analyse the intersections between actors and events taking place over six decades. The analysis and interpretation of the data is located in three time periods. Chapter 3 covers the period from 1929 until 1974 when, on the cusp of the emergence of the new texts and technologies of film, the SFC was established to promote and protect Scottish film culture and audio-visual technologies. During this time, the interdependence of teachers, the film trade and the educational policy-making community led to the production, distribution and exhibition of new and popular forms of text to national and international acclaim. By juxtaposing public and private documents circulating on the margins of statutory education, this chapter generates a new understanding of the importance of film and its technologies in Scotland in the pursuit of a more culturally relevant and contemporary model of education. It also describes how constraints upon Scotland’s cultural production infrastructure limited its capacity to effect significant educational change. In the 1970s, cultural, political and educational ferment in pre-devolution Scotland, created a discursive shift that gave rise first to media education and then to Media Studies. Articulating documents with wider discourses of educational and cultural change and interviews with key players, Chapter 4 describes a counter-narrative gaining momentum. The constraints of the practices of traditional subjects and pedagogies combined with the constraints on Scottish cultural production gave shape and form to the media education movement. Significantly for this study, the movement included influential members of Scottish education’s leadership class. Between 1983 to 1986, the innovative Media Education Development Project (MEDP) aimed to place media education at the centre of teaching and learning in Scottish education. This was fully funded by the SED, managed by the Scottish Council for Educational Technology (SCET) and the SFC and implemented by the Association for Media Education in Scotland (AMES). The MEDP overlapped briefly with another initiative in SCET, the Scottish Microelectronics Development Project (SMDP). During this period, Media Studies enjoyed rapid success as a popular non-advanced qualification in the upper secondary and further education sectors. Media education, however, did not. Chapter 5 explores the links between the MEDP and the SMDP through the agency of three central actors: SCET, the SFC and AMES in the context of a second term of Margaret Thatcher’s Conservative government. This study concludes that between 1934 and 1964, the SFC was a key educational bureaucracy in Scottish education. The SFC’s role as an agent of change represented the recognition of a link between relevant and contemporary Scottish cultural production and the transformation of statutory education. Between 1929 and 1982 three iterations for media and education in Scotland can be discerned. In 1983, the MEDP began a fourth but its progress faltered. The study suggests that if a new iteration for media and education in Scotland in the twenty-first century is to emerge, an institutional link between media culture, technology and educational transformation requires to be restored. 370.942
84	Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972 Metz, Daniel Curran 01 November 2010 (has links) “Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text Art house Sexploitation Hardcore Film history Art Sex Film exhibition Movie theatre Brigitte Bardot The Immoral Mr. Teas Art film European art film Ambiguous art film Sex kitten I am curious (yellow) Blow-up Stanton art theatre Lorna I, a woman Censorship Production code Hollywood Little cinema Sure seater
85	Janus ala Cuba : Filmiska gestaltningar av den kubanska revolutionen / Janus ala Cuba : Cinematic portrayals of the Cuban Revolution Ersson, Elin January 2012 (has links) Denna uppsats undersöker hur samma historiska händelse kan ha olika betydelser i film. Idag är människor mer benägna att se en film om en historisk händelse än att läsa en historiebok, och detta innebär att vi måste lära oss att förstå de konventioner som används för att placera historia på film. Historiefilmen kan sägas besitta en palimpsestisk historiskt medvetenhet där lager av fakta och myt smälter samman, hellre än att skiljas åt. Men för att en historisk händelse ska passa in i filmens tidsram måste den bearbetas och detta resulterar i att vissa människor, händelser och rörelser prioriteras, medan andra utesluts. Därför undersöker denna uppsats vad som lagts till / uteslutits och effekterna på sammanhanget och trovärdighet, hur filmen hävdar sin autenticitet, och hur upphovsmannen påverkar trovärdigheten. Analysresultaten av två filmer om den kubanska revolutionen, visar att beroende på vilken del av den historisk händelsen som skildras, skapar filmerna helt olika berättelser med olika budskap. Medan filmen Che-Argentinaren (2008) fungerar som en hyllning av gerillanledaren Che Guevara som Kubas frälsare, visar en vänsterideologi och uttrycker USA förakt, skildrar däremot den andra filmen The Lost City (2005) revolutionens baksida. Den visar en högerideologi, familjevärderingar och USA som frihetens och drömmarnas land. Båda filmerna använder sig av liknande stilistiska strategier för att uppnå illusionen av autenticitet, och filmernas upphovsmän påverkar filmernas trovärdighet i olika grad. Vad jag i uppsatsen till sist menar är att historiefilmen inte bör tas som sanning, utan har en viktig roll som intresseväckare, som förhoppningsvis leder till att åskådaren blir intresserad av att söka sig mer kunskap. / This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event. Historical film films film history Cuban revolution Cuba Che Guevara Andy Garcia Steven Soderbergh Che The Argentine Che part one The Lost City USA Robert A. Rosenstone Rosenstone Mats Jönsson Hayden White Historiefilm filmhistoria historisk film historia film Kuba Kubanska revolutionen Che Guevara Andy Garcia Steven Soderbergh Che-Argentinaren The Lost City USA Robert A. Rosenstone Rosenstone Mats Jönsson Hayden White
86	L'espace post-apartheid dans le cinéma sud-africain : état des lieux de la fiction (2000-2010) / Post-Apartheid Space in South African Cinema : the State of Fiction Films (2000-2010) Le Poullennec, Annael 12 October 2013 (has links) Cette thèse vise à définir l’espace post-apartheid tel qu’il est représenté dans le cinéma sud-africain. Depuis 1994, l’Afrique du Sud démocratique constitue un nouvel espace géographique et socio-économique, profondément marqué par l’héritage de l’apartheid. Notre thèse vise à conjuguer l’analyse stylistique de films sud-africains et une réflexion civilisationniste, influencée par la géographie et la sociologie, sur ce qui fonde l’espace post-apartheid. Nous étudions le cinéma de fiction qui permet la représentation de l’espace tel qu’il est perçu, voire souhaité par le cinéaste, parfois en contradiction avec les enjeux commerciaux. La refondation du cinéma sud-africain après 1994 a-t-elle donné naissance à une nouvelle représentation de l’espace ?L’espace post-apartheid au cinéma se définit d’abord en rapport avec l’ancien espace, en opposition ou dans la continuité. Notre étude se concentre sur l’héritage de l’apartheid dans les années 2000, dans l’industrie du film et dans la mise en image d’un territoire national clivé et de villes divisées. Nous abordons ensuite la représentation récurrente de trajectoires individuelles en butte à cette géographie héritée, focalisation qui contribue à mettre à distance l’espace prescrit par l’ancien régime. Nous établissons enfin que l’espace cinématographique post-apartheid est défini en rapport avec la construction d’une nouvelle identité depuis 1994. Certaines ambiguïtés en découlent, dans la représentation du township et des étrangers africains ou dans la réception des films, et soulignent la redéfinition complexe de l’espace et de l’identité en Afrique du Sud afin que celle-ci puisse être véritablement « nouvelle ». / This study focuses on the representation of post-apartheid space in indigenous South African fiction films. I work towards a definition of cinematic post-apartheid space, putting forth its ambivalent relations to the apartheid past, between heritage and rejection, on the levels of geographical space, socio-economic space and, mostly, represented space. I situate myself at the intersection of South African cultural studies and reflections on post-apartheid space, and of the study of the new South African cinema. I focus on fiction since it gives most room for filmmakers to represent space as they perceive it, or desire it, to be, and on feature films which carry most of the South African industry’s ambitions in terms of international recognition.I first look at the heritage of apartheid in terms of the South African film industry, the divisions of the national territory and the structure of the South African city. I argue that post-apartheid cinematic space is first and foremost defined in relation to apartheid space, whether in opposition or in terms of heritage. However, recurrent representations of individual trajectories clash with that inherited geography and are a means for filmmakers to distance themselves from the previously prescribed relations between characters and space. I also argue that the definition of a new South African identity is crucial to the characterization of post-apartheid space in films. The ambiguous representations of township space or African foreigners in South African films and the emphasis on the nationality of films in film reception put forth how deeply paradoxical the reinvention of space and identity is in post-apartheid South Africa. Cinéma sud-africain Espace post-apartheid Afrique du Sud Représentations Afrique du Sud post-apartheid Identité Cinéma et société Espace au cinéma Analyse filmique Civilisation du monde anglophone South African cinema Cinematic space Post-apartheid space Cinematic representations Identity Reception studies Film history Cultural studies South African studies Post-apartheid space in films
87	Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943) / Cinema and the totalitarian experiment : the laboratory of the war film genre in Fascist Italy (1935-1943) Courriol, Marie-France 10 December 2015 (has links) Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux. / This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products. Cinéma italien Histoire du cinéma Fascisme Histoire culturelle du fascisme Politiques cinématographiques Totalitarisme Propagande Genre cinématographique Film de guerre Cinéma colonial Industrie cinématographique Militarisation Guerre et cinéma Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Écriture cinématographique Réception Guerre d’Ethiopie Seconde Guerre mondiale Guerre d’Espagne Critique cinématographique Adhésion populaire Italian cinema Film history Fascism Cultural history of the Fascist period Film policies Totalitarianism Propaganda Film genre War film Colonial cinema Film industry Militarisation War and cinema Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Screenwriting Reception Representation of the First World War Ethiopian war Second World War Spanish Civil War Film criticism Popular consent

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