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Hollywood dreaming : satires of Hollywood 1930-2003 /Jericho, Greg. January 2004 (has links)
Thesis (Ph.D.) - James Cook University, 2004. / Typescript (photocopy). Bibliography: leaves 276-315.
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Die Warenästhetik des HollywoodfilmsWagner, Werner, January 1975 (has links)
Thesis--Tübingen. / Vita. Includes bibliographical references (p. 150-158).
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"On the street" and "of the street" the daily lives of unhoused youth in Hollywood /Joniak, Elizabeth A. January 2010 (has links)
Thesis (Ph. D.)--UCLA, 2010. / Vita. Includes bibliographical references (leaves 286-288).
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Systèmes de signification dans le cinéma classique hollywoodien: l'exemple de la comédie sophistiquéeSterckx, Laurent S.S. January 1996 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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Hollywood and its others : porous borders and creative tensions in the transnational screenscapeMills, Jane Kathryn, University of Western Sydney, College of Arts, School of Humanities and Languages January 2007 (has links)
This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary. / Doctor of Philosophy (PhD)
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Hollywood and its others porous borders and creative tensions in the transnational screenscape /Mills, Jane Kathryn. January 2007 (has links)
Thesis (Ph.D) -- University of Western Sydney, 2007. / A thesis submitted to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.
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Hollywood at the Tipping Point: Blockbuster Cinema, Globalization, and the Cultural Logic of EcologyRust, Stephen A. 18 September 2012 (has links)
190 pages / Twenty-first century American cinema is permeated by images of globalization and
environmental change. Responding to what Yale researchers have described as a “sea
change” in public perceptions of global warming occurring between 2004 and 2007, this
dissertation provides the first extended examination of Hollywood’s response to the
planet’s most pressing social and environmental challenge – global climate change.
Among the most widely distributed and consumed forms of popular culture, Hollywood
blockbuster films provide a unique textual window into the cultural logic of ecology during
this important turning point in Americans’ perceptions of environmental risk. The term
“cultural logic of ecology” is defined as the collective cultural expression of a society’s
dominant perceptions and enactments of its relationships with other organisms and their
shared bio-physical environments. Surveying the history of climate cinema, my second
chapter examines the production and reception contexts of the two films most responsible
for renewing public interest in global warming: The Day After Tomorrow (2004) and An
Inconvenient Truth (2006). Despite their generic differences, both films combine the
formal techniques of melodrama and realism to translate the science of global warming into a moral vernacular. In subsequent chapters, I further intertwine textual and historical
analysis to examine other films released during the period that portray aspects of global
warming. Considered a children’s film, Happy Feet (2006) employs digital animation to
illustrate the ecological impacts of globalization on Antarctica, thus presenting viewers
with a more accurate picture of the threats facing emperor penguins than did the
documentary March of the Penguins (2005). I next analyze There Will Be Blood (2007) as
a critique of patriarchy and natural resource exploitation that resonated with American
filmgoers as oil prices were skyrocketing and President George W. Bush admitted
“America is addicted to oil.” Consumed on Imax screens and iPods, and as toys, t-shirts,
and video games, blockbusters leave massive cultural and carbon footprints. I conclude by
arguing that ecocritical scholarship offers the most effective scholarly toolkit for
understanding contemporary cinema as a cultural, textual, and material phenomenon. / Committee in charge: Dr. Michael Aronson, Chairperson; Dr. Sangita Gopal, Member; Dr. Louise Westling, Member; Dr. Jon Lewis, Member, from Oregon StateUniversity; Dr. Patrick Bartlein, Outside Member
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