Global ETD Search

1	Postmodern mysticism: a study of the feature films of Guillermo del Toro Vanaria, Francis Joseph III January 2014 (has links) This thesis explores the work of the director Guillermo del Toro. In a career that spans 20 years working in feature films, del Toro has directed the Spanish-language art Cronos (1993) in Mexico, and The Devil’s Backbone (2001) and Pan’s Labyrinth (2006) in Spain. Del Toro has also worked extensively in Hollywood, wherein he directed Mimic (1997), Blade II (2002), Hellboy (2004), Hellboy II: The Golden Army (2008), and, most recently, Pacific Rim (2013). Amongst these, del Toro regularly blends generic elements, and in doing so questions the boundaries dividing genres of: horror, sci-fi, fantasy, anime, melodrama, and the superhero. Making use of auteur theory, this study discusses the entirety of del Toro’s feature films in order to position the director as an auteur. As such, the motifs del Toro repeats in and across these 8 films are of central concern, as well as any biographical information to contextualize del Toro’s personal and aesthetic concerns. In particular, this thesis looks at del Toro’s stylistic and diegetic invocations of certain features of fairytales—the relation between reality and fantasy (Pan’s Labyrinth and Hellboy II), the fairytale trope of the curse (as in Cronos, Mimic, and The Devil’s Backbone), and the hunter archetype (which is emphasized in Blade II, Hellboy, and Pacific Rim). In addition, this study finds that the sacred and the profane constitute a central dialogue woven throughout del Toro’s films. Ultimately, this thesis concludes that del Toro can be considered an auteur in that he appropriates genre, fairytale motifs, and the sacred and the profane in order to explore bodies—human and nonhuman (that is, bodies of monsters, machines, and the divine)— as works of art that challenge the possibility of defining the body in singular terms (that is, as human, male, adult, white, etc.). Fine arts Film Mysticism Guillermo del Toro
2	Mexican Cinema in a Global Age: The Films of Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu Rusnak, Stacy S 14 December 2010 (has links) This study investigates the participation of cinema in the continuing debates over Mexican national identity. Part one lays out the problem of defining “Mexicanness” in contemporary society, and demonstrates that during the 1990s a new attitude emerged amongst a younger generation that sought to redefine the image of the cosmopolitan Mexican urbanite. This section is devoted to the problematics of traditional discourses on Mexican identity, as well as to a theoretical shift away from a nationalist paradigm of identity formation towards a more flexible model that takes into consideration the global processes shaping contemporary Mexico. Part 2 analyzes three early Mexican films made by Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu, respectively Cronos (1993), Y tu mamá también (2001), and Amores perros (2000). I demonstrate through a heuristic model of the Real, Imaginary, and Symbolic how these films allegorize Mexico’s “coming to age tale” under the weight of political and economic changes. Part 3 shifts to the Hollywood films by these directors. Using a scalar concept, I illustrate how these directors’ works yield a new model for understanding the interconnectedness between the national and the transnational in a way that neither term is necessarily privileged, but rather coextensive. Mexican cinema Identity Transnational Guillermo Del Toro Alfonso Cuarón Alejandro González Iñárritu Communication
3	Mexican Cinema in a Global Age: The Films of Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu Rusnak, Stacy S 14 December 2010 (has links) This study investigates the participation of cinema in the continuing debates over Mexican national identity. Part one lays out the problem of defining “Mexicanness” in contemporary society, and demonstrates that during the 1990s a new attitude emerged amongst a younger generation that sought to redefine the image of the cosmopolitan Mexican urbanite. This section is devoted to the problematics of traditional discourses on Mexican identity, as well as to a theoretical shift away from a nationalist paradigm of identity formation towards a more flexible model that takes into consideration the global processes shaping contemporary Mexico. Part 2 analyzes three early Mexican films made by Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu, respectively Cronos (1993), Y tu mamá también (2001), and Amores perros (2000). I demonstrate through a heuristic model of the Real, Imaginary, and Symbolic how these films allegorize Mexico’s “coming to age tale” under the weight of political and economic changes. Part 3 shifts to the Hollywood films by these directors. Using a scalar concept, I illustrate how these directors’ works yield a new model for understanding the interconnectedness between the national and the transnational in a way that neither term is necessarily privileged, but rather coextensive. Mexican cinema Identity Transnational Guillermo Del Toro Alfonso Cuarón Alejandro González Iñárritu Communication
4	Från teckning till färdig produktion : en studie av storyboards inom spelfilm och animerad film / From initial sketch to final production : a study of storyboards within feature film and animated film Ericsson, Calina January 2014 (has links) In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions. The source materials used are works by Bill Krohn, Giuseppe Cristiano, Steven D. Katz and Robert Kapsis, amongst others. The films/DVDs for my research have consisted of numerous behind-the-scenes materials and storyboards that have been featured with these filmic references. My conclusion is that the subsequent cinematic expression in each work is already apparent in the early process. This is revealed sometimes in the sketchbook of the director, but most often in the important collaborative work of the whole production team. In this we discover aspects as to what makes an elaborate, filmic masterpiece, facts most often unknown to a normal cinema audience. storyboards animation filmhistory narration montage theory Hiroyuki Morita Martin Scorsese Guillermo Del Toro Philip Kaufmann Alfred Hitchcock storyboards animation filmhistoria narration montageteori Hiroyuki Morita Martin Scorsese Guillermo Del Toro Philip Kaufmann Alfred Hitchcock
5	Totalitarismo y ficción. Goya y sus espectros en el cine de Guillermo del Toro Ponce Tarre, Jorge Esteban 10 July 2023 (has links) [ES] El mexicano Guillermo del Toro, ha contribuido a enriquecer la estética y mitología del cine fantástico y de terror. Gracias a los seres dentro de sus filmes, e inspirados en los espectros de las pinturas y grabados de Francisco de Goya y Lucientes, el realizador presenta, mediante ensoñaciones maravillosas, los traumas y conflictos que se han arrastrado durante la historia; sobre todo en épocas de conflictos bélicos y sociales. La investigación que aquí se plantea, busca reivindicar el valor estético y ético de la obra de Goya dentro del cine contemporáneo. Así se propone un recorrido iconológico comparativo que rescata la influencia del arte del aragonés en los largometrajes del latinoamericano. / [CA] El director mexicà Guillermo del Toro, ha contribuït a enriquir l'estètica i la mitologia del cinema fantàstic i de terror. Gràcies als éssers dins dels seus films, i inspirats en els espectres pictòrics de les pintures i gravats de Francisco de Goya y Lucientes, el realitzador presenta, mitjançant ensomnis meravellosos, els traumes i conflictes que s'han arrossegat durant la història; sobretot en èpoques de conflictes bèl·lics i socials. La investigació que ací es planteja, vol reivindicar el valor estètic i ètic de l'obra de Goya dins del cinema contemporani. Així es proposa un recorregut iconològic comparatiu que rescata la influència de l'art de l'aragonés en els llargmetratges del llatinoamericà. / [EN] Guillermo del Toro, the Latin American director, has contributed to enriching the aesthetics and mythology of fantasy and horror films. Thanks to the beings in his films, inspired by the pictorial spectrums of the paintings and engravings of Francisco de Goya y Lucientes, the director presents, through fantastic reveries, the traumas and conflicts that have dragged through history, especially in times of war and social conflicts. The research proposed here seeks to vindicate the aesthetic and ethical value of Goya's work within contemporary cinema. Thus, a comparative iconological tour is proposed that rescues the influence of the art of the Aragonese in the Latin-American movies. / Ponce Tarre, JE. (2023). Totalitarismo y ficción. Goya y sus espectros en el cine de Guillermo del Toro [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/194753 Fantasy films Horror movies Desastres de la guerra (Goya) Caprichos (Goya) Pinturas negras (Goya) Cine de terror Cine fantástico Guillermo del Toro Gómez (1964- ) ESCULTURA
6	Myths on the Move: A Critical Pluralist Approach to the Study of Classical Mythology in Post-Classical Works Delbar, David Carter 01 June 2019 (has links) The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology. classical tradition reception adaptation allusion intertextuality typology Pedro Calderón de la Barca Miguel de Unamuno Guillermo del Toro Paul Naschy Friedrich Nietzsche Euripides Publius Ovidius Naso El laurel de Apolo Niebla San Manuel Bueno mártir Bacchae Apollo Cupid Dionysus Orpheus Persephone werewolf Arts and Humanities Comparative Literature
7	Gothic Agents Of Revolt: The Female Rebel In Pan's Labyrinth, Alice's Adventures In Wonderland And Through The Looking Glass Markodimitrakis, Michail-Chrysovalantis 21 April 2016 (has links) No description available. Literature American Studies Film Studies Gender Studies Cinematography Comparative Literature Political Science Philosophy Gothic gothic literature horror film fascism theory violence cinema victorian literature nonsense children state of exception fairies Nazism Guillermo Del Toro Lewis Carroll Wonderland Pan Labyrinth ideology homo sacer gender death
8	The child’s perspective of war and its aftermath in works of adult prose and film in Mexico and Spain Nickelson-Requejo, Sadie 01 June 2011 (has links) This dissertation investigates the literary and cinematic use of the child’s perspective to present the Mexican Revolution and the Spanish Civil War and their aftermath in several Mexican, Spanish, and international (Mexican-Spanish collaborative) narratives of the 20th and early 21st Centuries written by adult authors and filmmakers, and targeted for adult audiences. The Mexican narratives are Cartucho and Las manos de mamá by Nellie Campobello, Balún Canán by Rosario Castellanos, and Bandidos, a film by Luis Estrada; selected Spanish works are El espíritu de la colmena by Víctor Erice, Cría cuervos by Carlos Saura, and El sur by Adelaida García Morales; and both international works are films by Guillermo del Toro, El espinazo del diablo and El laberinto del fauno. I attempt to determine the textual or cinematic function of the child as first person (homodiegetic) narrative viewer in these works, and I study the different ways in which this child’s point of view is constructed in order to depict the overwhelming tragedy of war. I note patterns and diversities in subject matter presented by the narrative voice, and observe the characteristics of the child narrative viewer’s world and priorities (as presented by the authors and filmmakers), paying careful attention to how each perceives and understands his or her country’s violent upheaval and its aftermath. The theoretical framework of this investigation draws mainly from trauma theory, Gothic studies, and the tradition of the fairy tale. I illustrate how within the war narrative in addition to the author’s/filmmaker’s desire to recreate the sentiment that a child would evoke in adult readers and viewers, the child narrative viewer is employed for three main reasons: to play upon or against preexisting notions of the child’s innocence; to represent (possibly subversively) the nation; and as therapeutic means of returning to a paradise lost or creating a paradise never experienced. / text Children and war Child's perspective Child witness Mexican Revolution Spanish Civil War Nellie Campobello Rosario Castellanos Luis Estrada Víctor Erice Carlos Saura Adelaida García Morales Guillermo del Toro Cartucho Las manos de mamá My mother's hands Nine guardians Bandidos El espíritu de la colmena The Spirit of the beehive Cría cuervos Raise ravens El Sur The South El Espinazo del diablo The Devil's backbone El Laberinto del fauno Pan's labyrinth Spanish literature Mexican literature Campobello, Nellie, 1900-1986 Saura, Carlos, 1932- Toro, Guillermo del, 1964-

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