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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 5 of 5 (0.031 seconds)Spelling suggestions: "subject:"games cameron"" "subject:"games dameron""
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CineScrúpulos (Año 7. Número 19. Diciembre de 2018)Pita, César 12 1900 (has links)
Los textos de CineScrúpulos son elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la UPC. Las imágenes utilizadas son de distintas páginas web. El uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / se ha convertido en un referente cinematográfico por derecho propio. La figura
que se aleja como danzando, dueña de su propio futuro incierto, es una de
las odas más hermosas al optimismo y a la sonrisa permanente, a pesar de las
adversidades que afronta. Porque no debemos olvidar que Charlot es pobre pero
digno, a pesar de que Chaplin, el personaje de carne y hueso, estuvo rodeado de
una serie de polémicas por sus aparentes constructos ideológicos y por su conocido
interés por las féminas. Pero eso no opaca un corpus fílmico que alumbró
piezas que hoy son consideradas clásicos indiscutibles de la historia del cine. Por
ello, en aras de saldar una cuenta pendiente, hemos decidido dedicar la presente
edición de CineScrúpulos al genio de Chaplin.
Pero no es lo único. Como suele suceder en cada ciclo académico, este número
viene sazonado con algunos artículos interesantes. Nuevamente ingresamos al
terreno de la tecnología para indagar si el universo de futuro que plantea la serie
Black mirror tiene algún punto de conexión con el imaginario que despliega
James Cameron en sus películas. De más está decir que el autor de Terminator
(James Cameron, 1984) es un visionario y enfrenta en cada una de sus obras una
serie de retos a nivel técnico pero también narrativo. Lástima que el presente
texto haya sido elaborado antes del estreno de ese laberinto de discurso que es
Black mirror: Bandersnatch (David Slade, 2018), pero prometemos en el futuro
una indagación al respecto.
Los dibujos animados también tienen su espacio en CineScrúpulos. Por supuesto,
estamos hablando de los ejemplos más descabellados, surrealistas y transgresores
que uno puede tener a mano. ¿Dragon Ball Z? No te pases. El universo de
Chuck Jones está plagado de delicias que se disfrutan mejor a medida que pasan
los años. Y Space jam (Joe Pytka, 1996) fue un producto altamente disfrutable
en la década de los noventa. La gran interrogante que se plantea es si maneja el
mismo tipo de comedia o toma otros referentes. Leer para creer.
Y ya que hablamos de risotadas, el tercer artículo de fondo intenta establecer
similitudes y diferencias entre un puñado de películas marca Tondero y otras que
establecen nuevos derroteros en el cine de género en el Perú y que tiene que ver
con el desenfreno. Es bueno hacer industria, pero las voces disidentes merecen
ser escuchadas. Como puedes ver, esta edición está plagada de sonrisas.
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Mascelli's functional analysis of camera angles versus viewers' interpretations of unconventional camera angles in Avatar and The English Patient / Carli UysUys, Carli January 2014 (has links)
The primary research strategy of this study was to elicit meaningful answers from
viewers by means of a focus-group procedure; this is a method associated with
qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten
adults, whose visual literacy in terms of narrative films, was described as high (they
frequently watch films at home, or in the theatre). The researcher acted as the
moderator; and a set of semi-structured questions, based on meanings attached to
camera-angle codes as defined by Mascelli, were answered by the participants.
The codification scheme of Mascelli was applied to the unconventional camera angles in
Avatar and The English Patient. These were compared with the viewers’ responses.
Finally, the results were interpreted, in order to establish whether a meaningful
relationship exists between the viewers’ responses and the interpretation of
unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The
literature study focused on a media aesthetic explanation of cinematography, which
included media aesthetics theory, framing, and composition, as well as the general
codes and conventions relevant to cinematography.
The literature overview includes a study of books, academic articles, internet sources,
legislation, and training videos. A Nexus and EbscoHost search (Academic Search
Premier and Jstor) was conducted on cinematography in general, and on camera angles
in particular.
Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera
angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that
the viewers found the unconventional camera angles used in the films to represent
the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond
with the meanings of the unconventional camera angles, as stated by Mascelli.
To ensure the effectiveness of a film and the accurate representation of the
meanings of camera angles and camera sizes, the way it is described by Mascelli
should ideally be taken into consideration by all future producers. Mascelli’s
descriptions of camera angles and camera sizes, combined with the media
aesthetics, as described by Zettl – when successfully applied – could lead to the
production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014
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Mascelli's functional analysis of camera angles versus viewers' interpretations of unconventional camera angles in Avatar and The English Patient / Carli UysUys, Carli January 2014 (has links)
The primary research strategy of this study was to elicit meaningful answers from
viewers by means of a focus-group procedure; this is a method associated with
qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten
adults, whose visual literacy in terms of narrative films, was described as high (they
frequently watch films at home, or in the theatre). The researcher acted as the
moderator; and a set of semi-structured questions, based on meanings attached to
camera-angle codes as defined by Mascelli, were answered by the participants.
The codification scheme of Mascelli was applied to the unconventional camera angles in
Avatar and The English Patient. These were compared with the viewers’ responses.
Finally, the results were interpreted, in order to establish whether a meaningful
relationship exists between the viewers’ responses and the interpretation of
unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The
literature study focused on a media aesthetic explanation of cinematography, which
included media aesthetics theory, framing, and composition, as well as the general
codes and conventions relevant to cinematography.
The literature overview includes a study of books, academic articles, internet sources,
legislation, and training videos. A Nexus and EbscoHost search (Academic Search
Premier and Jstor) was conducted on cinematography in general, and on camera angles
in particular.
Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera
angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that
the viewers found the unconventional camera angles used in the films to represent
the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond
with the meanings of the unconventional camera angles, as stated by Mascelli.
To ensure the effectiveness of a film and the accurate representation of the
meanings of camera angles and camera sizes, the way it is described by Mascelli
should ideally be taken into consideration by all future producers. Mascelli’s
descriptions of camera angles and camera sizes, combined with the media
aesthetics, as described by Zettl – when successfully applied – could lead to the
production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014
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Neural narratives and natives: cognitive attention schema theory and empathy in AvatarHills, Paul R. 01 1900 (has links)
Text in English / This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several
theoretical fronts to provide a view of the film from a cognitive cultural studies perspective.
The insights gained from cognitive theory are used to situate the debate by indicating the value
cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that
results is a vehicle for the central concern of this study, which is to understand the diverse,
often contradictory, meaning-making exhibited by Avatar audiences. A focus on the
construction of empathic responses to the film’s messages investigates the success of this
polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of
viewing Avatar are made discursively; they are situated in definable traditions, mores and
values; and this meaning-making takes place in a cognitive framework which allows for the
technical reproduction and reception of the experience while providing powerful, emerging and
cognitively plausible narratives. In an attempt to situate the film’s commercial success and its
plethora of awards, including an Oscar for best art direction, the analysis takes a critical view
of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the
continuing development of these elements over the whole series and product line or, as Henry
Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the
methodologies used in this study and in arguing for their complementarities, the study
contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this
formulation as cognitive cultural studies. / Art History, Visual Arts and Musicology / M.A. (Art History)
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Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narrativesPotter, Mary-Anne 09 1900 (has links)
Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed. / English Studies / D. Litt. et Phil. (English)
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