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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.

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This thesis investigates the manner in which the action sequences of contemporary Hollywood cinema reflect and constitute ways of imagining space. The thesis proposes that these sequences are highly spatialised presentations of bodily interaction with the world, and as such manifest cultural anxieties regarding the relationship between the individual and the built environment, and work to assure their viewers of the capacity of the human form to survive the disorienting spaces of contemporary architecture, globalisation and technology. In order to demonstrate this, the aesthetic and formal properties of action sequences are read alongside critical work exploring how space shapes social life, including influential texts by Henri Lefebvre, Michel de Certeau, Fredric Jameson and others. These readings reveal that both action sequences and critical spatial theory are similarly attentive to the difficulties, contradictions and possibilities of built space. A range of action sequences from Hollywood films of the last fifteen years, including sequences from Mission: Impossible - Ghost Protocol, The International, The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum, Jumper, Casino Royale, Quantum of Solace, Sucker Punch, Inception, Swordfish, The Matrix, The Matrix Reloaded, TRON: Legacy, Resident Evil, Resident Evil: Afterlife and Dredd 3D are analysed for how they depict space and spatial agency. Rather than concentrating upon the narratives of these films, the chapters of the thesis deal in turn with the ways in which action sequences express contemporary developments within the built environment; the consequences of globalisation; the impact of these spatial changes upon mental life; the challenges to bodily engagement raised by digital technology and cyberspace; and the modifications to representing space on film prompted by stereoscopic exhibition. Examinations of these sequences are used to build a model of the action sequence that suggests spatial appropriation and ideas around place-creation are crucial elements of the form.

In The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.

<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>

The thesis seeks to trace the development of the process of &amp / #8216 / reflection as reality&amp / #8217 / through a politico-historical analysis of the intimacies between the United States governments and Hollywood cinema during the Cold War. The working assumption while projecting this study is as follows / the Hollywood cinema and the United States governments enjoyed a close relationship during the period in question. The latter actively involved in the inscription of the wills and desires of US Foreign policymakers into the American popular culture. The thesis will also extend the discussion to a politic cultural assessment of how the United States, through the films, represents and re-presents its superiority, and more importantly, how these films affect and shape the spectators perceptions about its foreign policy.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-10-01T13:37:31Z No. of bitstreams: 2 Dissertação - Tatiana Cristina Cardoso - 2018.pdf: 2244201 bytes, checksum: b535418aa6ab1df564591f3737ce6013 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-01T14:53:07Z (GMT) No. of bitstreams: 2 Dissertação - Tatiana Cristina Cardoso - 2018.pdf: 2244201 bytes, checksum: b535418aa6ab1df564591f3737ce6013 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-01T14:53:07Z (GMT). No. of bitstreams: 2 Dissertação - Tatiana Cristina Cardoso - 2018.pdf: 2244201 bytes, checksum: b535418aa6ab1df564591f3737ce6013 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-09-06 / This research defends the idea that the social forces determined ideologically the cinematographic production of the United States of America, during the emergence of the cinema until the period of its consolidation, collaborating for the propagation of Americanism as a way of life. As a methodology, was used the film analysis of It’s a Wonderful Life (1946), to observe what kind of American way of life the cinema of classic narrative structure would be insert in its production, with the intention of spreading the american way of life without breaking the moral rules already established by the codes of censorship imposed at the time and that until now, in contemporary times, are in force. US culture, politics, and economics were discussed in the 1930s, 1940s and 1950s, periods selected for their relevance in the making of myths and turning points in American history; Americanism as a way of life; Fordism; and Hollywood cinema, for being the one of the pioneering mass media that collaborated with the forms of Americanization not only within the US but throughout the world. / Esta pesquisa defende a ideia de que forças sociais determinaram ideologicamente a produção cinematográfica dos Estados Unidos da América (EUA), durante o surgimento do cinema até o período de sua consolidação, colaborando para a propagação do americanismo como modo de vida. A metodologia utilizada foi a análise fílmica de A Felicidade Não Se Compra (1946), para se observar que tipo de modo de vida norte- americana o cinema de estrutura narrativa clássica inseria em sua produção, com o intuito de difundir o american way of life, sem quebrar as regras de moral já estabelecidos pelos códigos de censura impostos na época e que até hoje, na contemporaneidade, vigoram. Foram discutidos ainda cultura, política e economia dos EUA nos anos 1930, 1940 e 1950, períodos selecionados pela sua relevância na fabricação de mitos e momentos decisivos na história norte-americana; americanismo como modo de vida; fordismo; e o cinema hollywoodiano, por ser o um dos meios de comunicação de massa pioneiros que colaborou com as formas de americanização não só dentro dos EUA, mas por todo o mundo.

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.

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