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An analysis of the cinematic elements in selected films of Elia Kazan, 1952-1962Lee, Carolyn Ann, January 1976 (has links)
Thesis--University of Michigan. / Includes bibliographical references (leaves 293-298).
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An analysis of the directing techniques of Elia Kazan in theatre and film as illustrated in "A streetcar named desire" /Ricci, Frederick, January 1975 (has links)
Thesis (Ed.D.)--Teachers College, Columbia University, 1975. / Typescript; issued also on microfilm. Sponsor: Thomas J. Manning. Dissertation Committee: Maxine Greene, . Includes bibliographical references (leaves 186-215).
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Conquest, Colonization and Orthodoxy : Muscovy and Kazan', 1552-1682Romaniello, Matthew Paul January 1998 (has links)
No description available.
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Inuit place names and land-use history on the Harvaqtuuq (Kazan River), Nunavut TerritoryKeith, Darren E. (Darren Edward), 1967- January 2000 (has links)
This thesis classifies Inuit place names and analyses their meanings to reveal Harvaqtuurmiut land-use history on the Harvaqtuuq [Kazan River], Nunavut Territory. The author collected previously unrecorded toponyms from the territory of this Caribou Inuit society, the Harvaqtuuq [Kazan River], and corroborated the data of earlier researchers. The Harvaqtuuq landscape was organized from foci of subsistence activities by application of Inuktitut geographical terminology and concepts. These foci moved over time and betray changing land-use patterns. The Harvaqtuuq was a frontier for Inuit, due to the need to depend on caribou, and due to the conflict engendered by overlapping Dene occupation. The presence of anthroponyms, and the paucity of pan-Inuit myths in the landscape allow for the speculative interpretation that the names support current theories of a recent arrival of Inuit to the Harvaqtuuq .
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Inuit place names and land-use history on the Harvaqtuuq (Kazan River), Nunavut TerritoryKeith, Darren E. (Darren Edward), 1967- January 2000 (has links)
No description available.
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Gesellschaft als lokale Veranstaltung : die Wolgastädte Kazan' und Saratov (1870-1914) /Häfner, Lutz. January 2004 (has links)
Habilitationsschrift--Bielefeld. / Bibliogr. p. [500]-586. Index.
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Cultura, política e representações do México no cinema norte-americano: Viva Zapata! de Elia KazanDe Fazio, Andréa Helena Puydinger [UNESP] 23 February 2010 (has links) (PDF)
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defazio_ahp_me_assis.pdf: 1692517 bytes, checksum: 7e9cb3508e8a110d3480a0f807533dbb (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Temos no filme Viva Zapata! (1952) o eixo central desta pesquisa, através da qual buscamos iluminar as relações entre cinema, cultura e política norte-americana dos anos cinqüenta, além de questionar como este cinema forma uma visão sobre o outro – nesse caso, os mexicanos. Produzido e lançado nos Estados Unidos em meio ao macartismo – oposição e perseguição aos comunistas, decorrente da Guerra Fria – é dirigido pelo cineasta Elia Kazan e tem como roteirista John Steinbeck, importante romancista norte-americano. Suas temáticas dialogam com a cultura e a política da época, os quais buscamos resgatar através deste estudo. Ainda, sendo um filme norte-americano sobre o México, nos possibilita questionar como este país e seu povo são representados – e ir além, analisando como se formam as visões dos outros no imaginário norte-americano, visão esta que se reflete através de manifestações culturais, como o cinema / The film Viva Zapata! (1952) is the central axis of the present study, through which we tried to highlight the relationships among North American cinema, culture and politics in the 1950s, as well as to question how this cinema forms the view about the other – in this case, the Mexicans. Produced and launched in the United States during McCarthyism – opposition and persecution to communists due to Cold War –, that film was directed by the filmmaker Elia Kazan and had as writer John Steinbeck, an important North American novelist. Its themes dialogue with the culture and the politics of that period, which we tried to rescue through this study. In addition, it is a North-American film about Mexico, which allows us to question how this country and its people are represented – as well as to analyze how the view about the others is formed in the North American imagination, since this view is reflected through cultural manifestations such as cinema
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Le cinéma de la peur à l'ère du maccarthysme / The cinema of fear in the era of McCarthyismFranklin-Landi, Rebecca 09 October 2015 (has links)
Cette étude propose une analyse de la représentation de la peur dans la société américaine à l’époque du maccarthysme à travers la filmographie de trois réalisateurs contemporains : Alfred Hitchcock, Elia Kazan et Fred Zinnemann. La période charnière de 1946 à 1954 sert de cadre à ce travail. La définition de l'identité américaine était au cœur du mouvement anticommuniste des années cinquante dont l'organe étatique s'appelait la House Un-American Activities Committee (la HUAC), car le fait d'être communiste était considéré comme une activité anti-américaine. C’est pour cette raison que les trois réalisateurs qui ont été choisis pour cette étude sont tous issus de l'immigration, et que la notion identitaire est sous-jacente à ce travail. Le cinéma durant cette période révèle la présence de la peur dans l'esthétique et les scénarii des films eux-mêmes, mais également dans le contexte plus large de l'industrie cinématographique hollywoodienne. La peur fut utilisée dans la société américaine afin d'assurer la docilité du peuple. Tout ce qui concerne la façon dont une société est organisée relève de la politique. Cette étude s’intéresse donc à la fonction politique de la peur ainsi qu’à la façon dont le cinéma a pu être utilisé pour transmettre un message subliminal au public : deux aspects qui sont toujours d’actualité dans la société de nos jours. / The aim of this study is to present an analysis of the manifestation of fear in American society during the period of McCarthyism, and concentrates on the filmographies of three directors contemporary to events: Alfred Hitchcock, Elia Kazan and Fred Zinnemann. The period of transition, 1946 to 1954, provides the temporal framework for this work. Defining American identity was the underlying focus of the 1950s anticommunist movement, which depended on the interventions of the House Un-American Activities Committee (the HUAC), as being a Communist was considered to be an un-American activity. This is why the three directors studied here were all recent immigrants to the United States, and why the notion of identity underlies this study. The cinema of this era shows the presence of fear through the movie esthetics and screenplays, but also in the broader context of the Hollywood cinema industry. Fear was used in American society in order to ensure the docility of the population. Anything which concerns the way in which a society is organized is political. In this way, this study shows the political function of fear as well as the potential use of cinema in order to transmit a subliminal message to the public; two aspects of society which continue to subsist in today's world.
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Como o cinema escreve a historia : Elia Kazan e a AmericaSchvarzman, Sheila 15 March 1994 (has links)
Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-19T08:48:09Z (GMT). No. of bitstreams: 1
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Previous issue date: 1994 / Resumo: A tese que ora se abre trata da análise de obras cinematográficas como portadoras de visões de história: como estas são enunciadas e como atribuem sentido ao passado. Entretanto, cedo se notará, o foco de análise não se concentra apenas neste tema, mas também na própria constituição da relação historiográfica com o filme."Cinema e história" pode ser vista como uma metodologia de utilização de filmes para o estudo da história. Mas esta visão, no nosso entender, não dá conta da compreensão propriamente historiográfica que a "relação entre cinema e história" permite. Sendo assim, como não.. há, no nosso entender, uma subordinação entre um tema e a metodologia empregada, mas a tentativa de pensar inúmeras relações que envolvem o cinema e a história, não só nos indagamos sobre como Elia Kazan atribui sentido ao passado,mas por que historiadores se interessariam por isso, e como o estudo de filmes ilumina também o estudo do fazer historiográfico pensamento - do qual participei na França entre 1977 e 1981, como aluna dos seminários sobre "História e Cinema" de Marc Ferro e as críticas e mudanças que a própria história e o conhecimento histórico agregaram a esta discussão. Desta forma, optei por acrescentar, ao desenvolvimento do tema central - a história como elemento constituinte central do cinema de Elia Kazan-, a discussão sobre os fundamentos que conduziram a esta análise. / Abstract: Not informed. / Mestrado / Mestre em História
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Investigation Of The Recharge And Discharge Mechanisms Of A Complex Aquifer System By Using Environmental Isotopes And Noble GasesArslan, Sebnem 01 February 2008 (has links) (PDF)
This study aims to determine the recharge, discharge and the mixing mechanisms of a
complex aquifer system located above the Kazan trona ore field using the environmental
isotopes of deuterium, oxygen-18, carbon-13 and carbon-14, chlorofluorocarbons (CFC-
11, CFC-12 and CFC-113) and the noble gas isotopes (He, Ne, Ar, Kr and Xe).
The groundwater system consists of three different aquifers: shallow, middle and deep.
The Akpinar formation lying between deep and middle systems acts as an aquitard.
Oxygen-18 and deuterium data showed an isotopic contrast between the shallow and
deeper aquifer systems and even between the unconfined and confined parts of the
middle and deep aquifers. The Noble gas temperatures indicated the average yearly air
temperatures in shallow aquifer system whereas the recharge temperatures came out to be
lower than todays in deep groundwater system. This finding is also supported by the
dissolved inorganic carbon&rsquo / s radiocarbon activities being close to the detection limits in
the same system. These activities together with the stable isotope data revealed there
might be evidence of recharge to the middle and deep aquifer systems under colder
climate conditions during the late Pleistocene.
CFC concentrations indicated modern recharge to the shallow aquifer system, whereas
the concentrations were close to the detection limits therefore CFC&rsquo / s were unable to date
the middle and deep aquifer systems however proved the existence of modern recharge to
this system.
Mantle-He escape to shallow aquifer system is believed to be along a deep buried fault
system located in downgradient areas.
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