Thesis (masters)--Royal Danish Academy of Fine Arts, School of Conservation, 2007. / Title from PDF title page (viewed on Feb. 20, 2009). "Keywords: Aqueous treatment, 35 mm b/w motion picture film, cellulose triacetate, Water-Leach Free Acidity Test, AFT-FTIR, shrinkage measurements, titration with NaOH, autocatalytic point; the vinegar syndrome"--P. ix. Includes bibliographical references (p. 93-97).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisors: Janet Davis and Thomas Schatz. Vita. Includes bibliographical references.

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Theo Lipfert. Into the cool: the living is a DVD accompanying the thesis. Includes bibliographical references (leaves 38-41).

With the inception of cinema in the late 1890s, discussions relating to the preservation of film emerged in countries around the globe. Early motion picture collectors, enthusiasts, critics, scholars, and producers justified film preservation by appealing to cinema’s role as art or artifact or through the medium’s capacity to document historical events. In the mid to late twentieth century, however, film preservation advocates increasingly validated their work by defining and celebrating cinema as cultural heritage. This dissertation investigates the emergence and growth of the film preservation movement throughout the twentieth century on all levels of the film archiving network, from the international and national to the infra-national. Using a wide range of archival documents and organizational records, this project creates a more complete discursive history of key institutions involved in the film preservation movement. Moreover, the project examines the ramifications of this movement upon what constitutes “American” film heritage for the scholar, practitioner, and global audience. This dissertation illustrates that moving image archives have not merely preserved movie history, but have, instead, actively produced cinematic heritage. / text

Thesis (M.S.)--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 3251. Typescript. Abstract precedes thesis as 1 leaf. Includes bibliographical references (leaves 69-71).

Orientador: José Leonardo do Nascimento / Banca: Sérgio Mauro Romagnolo / Banca: Francisco Cabral Alambert Junior / Banca:Omar Khouri / Banca: Marco Garaude Giannotti / Resumo: Este trabalho é uma tentativa de aproximação, por várias frentes diferentes, de Agripina é Roma Manhattan, curta-metragem no formato super-8 realizado por Hélio Oiticica em 1972, durante sua estadia em Nova Iorque. Consequentemente, este trabalho se aproxima de outras produções cinematográficas do universo rico e singular do artista. / Abstract: This work is an attempt to approach, by several different ways; to Agripina is Rome-Manhattan, shortcut super-8 movie made by Hélio Oiticica in 1972, along his stay in New York City. Consequently, this work also takes a closer look to other cinematographic productions in the rich and unique Oiticica's universe. / Mestre

In the study of Narratology, theorists focus on not only the narrative but also the narrator. This is the Who telling the What. While there are many philosophical views regarding authorial intent, and differing opinions as to "who" the narrator is and the many forms the narrator can take, filmed narrative complicates matters even further. For the purpose of this project I will seek to place a new definition on the latent yet prominent role of the true narrator of filmed narratives--money. Due to the complex nature of the film medium, I recognize that film criticism and the discussion of money can be applied to the many and varied aspects of film making, including but not limited to film as art, film as commodity, film genres, film styles, etc. However, I will be restricting my discussions of the role of money in film making at its most simplistic levels: (i) The fact that money prescribes the very presence of an image on film, and (ii) How money influences the narrative represented by those images.

Orientadora: Raquel Cabral / Banca: Maximiliano Martin Vicente / Banca: Rafael Tassi Teixeira / Resumo: A pesquisa tem por finalidade analisar as representações de deslocamentos, interculturalidade e transitividade migratória em filmes dirigidos por Karim Aïnouz, com destaque para O Céu de Suely (2006), Viajo porque preciso, volto porque te amo (codireção de Marcelo Gomes, 2009) e Praia do Futuro (2014). Considerado um cineasta político, Karim se destaca por sua singularidade autoral na forma de narrar identidades em transitividade. Utiliza a linguagem cinematográfica para a representação de deslocamentos e migrações, fenômeno cujas problemáticas sociais associadas estão entre as mais complexas e graves do nosso tempo. Como instrumentos metodológicos, utilizamos: pesquisa bibliográfica, entrevista estruturada com especialistas da área e análise fílmica dos filmes citados. Entendendo o cinema como um meio de leitura histórico-social e como um produtor de imaginários, atenta-se para as características do enredo das obras e para a conjuntura político-cultural das produções. O olhar intercultural, sem distinção de origens, torna possível a abordagem equilibrada dos filmes analisados e de outros trabalhos semelhantes, favorecendo o diálogo cultural e a cidadania global. / Abstract: This research aims to analyze the representations of displacement, interculturality, and migratory transitivity in films directed by Karim Aïnouz, especially Love for Sale or Suely in the Sky (O Céu de Suely, 2006), I Travel Because I Have to, I Come Back Because I Love You (Viajo porque preciso, volto porque te amo, codirection by Marcelo Gomes, 2009), and Futuro Beach (Praia do Futuro, 2014). Considered a political filmmaker, Karim stands out for his singularity as an author in the way of narrating identities in transitivity. He uses the cinematic language for the representation of displacements and migrations, a phenomenon whose associated social problems are among the most complex and serious of our time. As methodological instruments, we used: bibliographical research, structured interviews with specialists in the field, and film analysis. Understanding the cinema as a means of socialhistorical reading and as a creator of imaginaries, attentive to the works' plot features and the political and cultural situation of the productions. The intercultural view, without distinction of origins, makes possible the balanced approach of the analyzed films and other similar works, contributing to cultural dialogue and global citizenship / Mestre

Thesis (Ph. D.)--University of Southern California, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 336-342).