A revision of the author's Thesis (doctoral)--University of Amsterdam, 2000. / Description based on print version record. Includes bibliographical references (p. [437]-451) and indexes.

Thesis (M.A.)--York University, 1999. Graduate Programme in Film and Video. / Typescript. Includes bibliographical references (leaves [126-131]). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56174.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 48-49).

Includes bibliographical references, (p. 105-108) / "May 2003." "June 2003."--Cover. 9/18/2003: Also available via Internet.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

M.Tech. Drama. Tshwane University of Technology / How does a writer write good dialogue? This is the basis of this study. The need for investigation of this question arose due to the lack of information currently available to assist a writer a with a good dialogue-writing approach. Upon review of various literature contributions and articles, it was evident that this subject is relatively explored. The focus of the reviewed sources was mainly on the 'supposed' form and not on the theoretical methodology on constructing dialogue. Enganging this problem a qualitative method was used whereby a literature study identified three aspects, namely, discourse analysis, power dynamics and Stanislavsky's notions on acting. The works of James P. Gee, James C. Scott and Stanislavsky were the main sources used in the respective fields. From their work and others, a series of strategies for development of effective dialogue was developed. Essentially, these strategies drew on the notion of "language in Action" and thus engaged dialogue for film as a series of interactive utterance exchanges. The findings lead to a proposed model which integrates the above mentioned aspects, which were tested and analyzed. This model can assist a writer in the process of constructing dialogue. The conclusion of this study is that the aspects of the created model effects dialogue. If one of the aspects should change, then the dialogue will also change. This ensures a consistent methodical approach to construct dialogue.

published_or_final_version / Comparative Literature / Master / Master of Philosophy

No description available.

This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen. / In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.

This thesis explores the changing relationship of power, technology, and gender in recent Hollywood films. Beginning with ideas of gender "truths" in philosophical thought, I posit that the representation of violence is inseparable from the notion of gender, and that ideas of gender are always historically specific. / I examine masculinity and aggression in Vietnam films, arguing that masculinity must struggle to renew its privilege and its illusion of purity. / Finally, I examine combat roles for women where the heroines have accessed "male" technology to become subjects of the social act. I conclude that these representations offer a possible female subjectivity and resistance to patriarchal assimilation only when the ambivalence and fragility of that subjectivity is recognized.