Thesis (Ph.D.) - James Cook University, 2004. / Typescript (photocopy). Bibliography: leaves 276-315.

Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.

This study examines contemporary Hollywood by focusing on films made between 1990 and 2010. With chapters on the double, war trauma, the undead, and automata, I delineate evidence of the uncanny within individual films along with the underlying contradictions that symptomatically respond to the larger economic conditions and industrial practices that shape the contemporary period. Each of the four chapters also serve as an occasion to analyze theoretical and thematic concerns drawn from Sigmund Freud's 1919 essay on the uncanny. Throughout the project there is a strong effort to link Freud's initial account to subsequent theoretical developments with a particular emphasis on introducing the work of Jacques Derrida. The cumulative aim of these efforts is provide a critical foundation for analyzing the latent disorientation within the practices of contemporary Hollywood and capitalist society more generally.

No description available.

No description available.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

This thesis explores the global-local interplay among three key players, which are Hollywood, the Chinese government, and Chinese film industry, by analyzing representations of China and Chinese culture in three kinds of modes of film cooperation between Hollywood and China in the era of globalization. Drawing on both the analysis of three factors respectively and the elaboration of tripartite push-and-pull, a spectrum of film collaboration has been built to find out how the leveraging powers work, indicating that the images of China in selected films manifest a shared cultural identity that is hybridized and market-friendly. By further discussing China’s position in the global competition, it reveals China’s ambition to brand itself as a global media power instead of a media capital.

Welcome to the movies! Welcome to the stars! Welcome to this grand illusion! All of it's yours. New Urbanism. Hollywood thinks you're stupid. Scientology. Retro-futurism. Taking back color from toiletries. Personal politics. Cutting off the legs of the bioscopes. The architecture of Fun. The death of Entertainment. Freedom of speech. Sticky floors. Googie. Suburbia. Popcorn. The way we live our lives. All seen through the limelight of a night at the movies. / Master of Architecture

<p>This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.</p>

This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.