Thesis (Ph.D.) - University of Queensland, 2006. / Includes bibliography.

Thesis (M.A.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.

Thesis (M. A.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 126-130). Also available via the World Wide Web.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (S.T.M.)--Yale Divinity School, 2008. / Includes bibliographical references (leaves 77-79).

This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.

Full motion simulators are traditionally used in the flight industry to train pilots. They are used to add the sensation of acceleration in simulation to make it more "realistic". Clearly the motion envelop of the simulator is limited by physical constraints so the motion platform has to be stopped and returned to the center position after an acceleration cue, called washout. A key question is: which acceleration can a subject feel and which not, called the acceleration threshold. We are also interested in strength of accelerations for which a subject can detect the direction. Literature gives several results, but we found that some of these values seemed very low to us and the experiments were conducted on very specific groups of people like pilots, A.J.Benson and H.Vogel (1986), Schroeder (1999). Furthermore, we are simulating moving vehicles like a car or an air plane and are interested in the acceleration ranges in a noisy environment. Noisy, the noise is a result from the vibration of engines, rough roads and disturbances that are Gaussian. This thesis gives a literature review, implement the cueing procedure to make motion and vibration to do different experiment and analyze the results. / Thesis / Master of Computer Science (MCS)

台灣自2002年的電影《藍色大門》後，兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見，這類電影脫離以往媒體再現同性戀者的刻板印象，明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩，對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法，從電影工業及創作角度切入，指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難，以及青春成長電影類型低成本的特性，均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性，對同志的再現反而有所局限，本文認為，更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案，讓我們了解作者在商業電影創作中注入個性遇到的各種困難，亦提供了認識「後新電影」重尋生存策略的視角，檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 / Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. / Detailed summary in vernacular field only. / 鍾嘉瑩. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 110-116). / Abstracts in English and Chinese. / Zhong Jiaying.

Thesis (Ph. D.)--New York University, 2005. / Includes bibliographical references (leaves 494-554). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

Thesis (Ph.D.)--University of Kansas, 2008. / Adviser: Catherine Preston. Includes bibliographical references.