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Thesis (M.A. (English))--University of Pretoria, 2003.

Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 1995. / Includes project summary. Includes bibliographical references (leaves 121-128).

No description available.

Två filmer baserade på samma manus borde rimligtvis inte kunna innehålla så stora skillna-der. Trots detta har de mottagits totalt olika. Jag tänker i denna uppsats studera ett av filmers främsta element, nämligen den av karaktären. Genom att göra en komparativ jämförelse mel-lan karaktärerna i The Wicker Man (1973) och The Wicker Man (2006). Med hjälp av Jens Eders Karaktärsklocka och Robert McKees teorier om karaktärsgestaltning undersöker jag vilken skillnaden i karaktärsgestaltningen mellan de två filmerna är och hur det påverkar dem. Svaret är att det spelar en stor roll och har troligtvis varit avgörande i hur filmerna har tagit emot av publiken.

Modern populärkultur verkar under de senaste åren ha framfört en trend i att gestalta sina antagonister som flerdimensionella. Men är komplexitet det enda sättet att göra en antagonist intressant på? I denna fallstudie undersöks antagonisterna i BioShock och Heathers: The Musical, för att förstå den tematiska funktionen av en komplex och en enkel antagonist. Det sker med ett scenurval som identifierar berättelsernas tematik och förtydligar antagonisternas karaktärsdrag. Scenerna förtydligar om antagonisterna är runda eller platta, hur de bedöms inom moral och makt samt framför vad de har för funktion i berättelsernas tematiska mål. Resultatet visar att den enkla antagonisten förespråkar en ytlig ideologi som den sprider och ger komplexitet till andra karaktärer, medan den komplexa antagonisten ger tillfälle till reflektion inom moralen av sin egen ideologi. Slutsatsen av studien blir att de två antagonisttyperna fyller användbara funktioner beroende på hur djupgående en berättelse är villig att utforska ett problem eller ideologi.

Contemporary children’s books, particularly picture books, show an increasing tendency towards complexity and sophistication. There is, however, some resistance to this tendency in the children’s book world. This thesis therefore critically analyses complexity and sophistication in three picture books - chosen because they represent particularly high numbers of the most common complexities and sophistications - in order to determine whether or not such resistance is appropriate. The study defines picture books as fictional, illustrated books in which pictures and design are vehicles for meaning, where text and art are integral aspects of an interdependent relationship. It thus examines words, the roles of words and pictures and their interactions, linear progression, time and page-breaks, rhythm, design, colour, medium, style, line, regularity, balance, framing, shot, point of view, gaze, visual weight, position, shape, size, light, background, symbol, pictorial analogy, visual games, nonsense, intervisuality, intravisuality, leitmotif and counterpoint. The sophisticated structure, polyphony, visual nonsense and allusion of Anthony Browne’s Voices in the Park allow deep, complex examinations of its characters’ psychologies, making marginalized groups visible and critiquing stereotypes of class, gender, family structure and unemployment. Its sophistications and complexities thus enable Browne’s book to satisfy significant priorities in the children’s book world, because it avoids overt didacticism, respects “literary” values and is socially aware. The sophisticated structure, visual nonsense, multidimensionality and multivoicedness of David McKee’s I Hate My Teddy Bear raise problems of narrative and focalizer, overtly inscribe inconsistency, vagueness and uncertainty, and determinedly resist resolution. McKee’s book thus refuses to imply a clear reader role, and situates readers firmly outside itself, where subjection to any one interaction with, response to or idea within it becomes impossible. This stimulates child readers’ creative thought, and distributes power between adult writers and child readers unusually equitably, thus offering children the respect and power of literary and ideological self-determination in a safe, restricted area of fiction. John Burningham’s Granpa neglects many of the conventions of writing and storytelling, so that readers face the multiplexity of its form and structure, the emergence of its linear narrative from apparent stasis into irresolution and ambiguity, and its difficult themes and psychological content, with very little guidance in their reading beyond frequently confusing formal signals. This is difficult for adult readers, who have learnt to expect certain conventions from stories, and to use them to interpret and predict what they read. It may, however, be particularly easy for child readers, because it does not force them to read in ways that are still foreign to and thus possibly difficult for them. It may even be less threatening to children and antagonistic to children’s culture than most children’s books, because it does not socialize children into the alien adult culture concomitant with conventional reading. Together, these analyses reveal that complex, sophisticated children’s books may function in a variety of ways. The children’s book world should thus rather evaluate them individually than reject the entire genre. / Dissertation (MA (English))--University of Pretoria, 2005. / English / unrestricted

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

The latest Eocene and Oligocene was a time of marked paleoenvironmental change in Taranaki Basin, involving a transition from the accumulation of coal measures and inner shelf deposits to the development of upper bathyal environments. Up until the end of the Early Oligocene (Lower Whaingaroan Stage) Taranaki Basin had an extensional tectonic setting. Marine transgression culminated in the accumulation of condensed facies of the Matapo Sandstone Member of the lower part of the Ngatoro Group. During the Late Oligocene (Upper Whaingaroan Stage) Taranaki Basin's tectonic setting changed to one of crustal shortening with basement overthrusting westward into the basin on Taranaki Fault. The major part of the Ngatoro Group in thickness, including the Tariki Sandstone Member, Otaraoa Formation, Tikorangi Formation and Taimana Formation, accumulated in response to this change in tectonic setting. Various methods of stratigraphic and sedimentological characterisation have been undertaken to evaluate the stratigraphy of the Ngatoro Group. Wireline log records have been calibrated through particle sizing and carbonate digestion of well cuttings. A suite of wireline motifs have been defined for formations and members of the Ngatoro Group. The integration with other lithological and paleoenvironmental data sources has helped to better define the Late Eocene - Oligocene stratigraphy and sedimentary facies for eastern Taranaki Basin margin. U-Pb geochronology by laser ablation inductively coupled plasma-mass spectrometry (LA-ICP-MS) has been used to determine detrital ages for over 350 zircons from 13 samples of Late Eocene - Oligocene sandstone samples in eastern Taranaki Basin and correlative onshore North Island units. The spread of ages (1554 - 102 Ma) and the proportion of ages in particular age bands integrated with modal petrography data have aided provenance evaluation. A range of source rocks contributed to the Late Eocene - Oligocene sedimentary units analysed, mainly the Waipapa Terrane (Early Permian to Late Jurassic) as shown by 206Pb/238U zircon ages and the abundance of fine-grained sedimentary rock fragments observed in samples. The Median Batholith (i.e. Darran/Median Suite and Separation Point Suite) is also identified as a significant source, indicated by Early Triassic to Early Jurassic and Early Cretaceous 206Pb/238U zircon ages and an abundance of quartz in samples. Other minor sources identified include Murihiku and Caples Terranes, Rakaia Sub-terrane and possibly the Karamea Batholith. The Tariki Sandstone and the Hauturu Sandstone have the same source, with the main 206Pb/238U zircon ages of aggregated samples (124 - 116 Ma and 121 Ma, respectively) consistent with a Separation Point Suite/Median Batholith (124 - 116 Ma) source. Derivation of sediments from a landmass that existed to the east and southeast of the Wellington area has been inferred for the Late Eocene - Oligocene units, with subsequent migration of sediments northward into Taranaki Basin and the Waikato Region (i.e. Te Kuiti Group depocentre) via longshore drift. New provenance data have been used to revise understanding about the development of eastern Taranaki Basin margin through the Late Eocene to earliest Miocene. Three new paleogeography maps are presented for the Runangan (Late Eocene), Lower Whaingaroan (Early Oligocene) and Upper Whaingaroan (early-mid-Oligocene). New paleogeography interpretations illustrate a dramatic change in the basin development between Matapo Sandstone (Lower Whaingaroan) and Tariki Sandstone (Upper Whaingaroan) deposition, consistent with an Upper Whaingaroan age for the start of reverse movement on Taranaki Fault.