Thesis (Ph. D.)--University of Wisconsin--Madison, 2005. / Includes bibliographical references (leaves 262-272). Also available on the Internet.

A dissertation submitted to the Faculty of Humanities in fulfilment of the degree of Master of Arts by creative research in Film and Television, University of the Witwatersrand, 2016 / In this dissertation I examine the roles of the cinematographer in fiction feature film production. I begin the discussion with a historical review of the emergence of cinematography as a specialised field in early cinema. This corresponds with developments in camera technology that enabled accurate framing, lighting and the possibility of movement. In order to provide a framework for further discussion, the first chapter proceeds with a review of formal definitions and less conventional definitions of the role of the cinematographer. The focus in these discussions is on the cinematographer’s engagement with the design, development and application of a unique ‘visual style’ in the articulation of the director’s vision for the film. A large component of this research pertains to the work of the cinematographer in South African feature film productions. The second chapter presents an analysis of two very different South African feature films Oil On Water (Matthews, 2007) and SMS Sugar Man (Kaganof, 2008). I was the cinematographer on both productions and the discussion engages a reflexive mode of analysis. The third and final chapter is an analysis of the accompanying film Impunity (Mistry, 2014), which forms the creative component of this research. I conclude with establishing that the creative engagement of the cinematographer in the design of a coherent visual style contributes to a nuanced and engaging cinematic experience and richer visual vocabulary. / MT2017

Masters of Arts Research Report submitted for the fulfilment of a Masters of Arts degree by coursework / Cultural policy in South Africa is critical in shaping government priorities for supporting the cultural industries. Since 1994 cultural policy has been informed by democratic principles of redress, accountability, freedom of expression, access and inclusiveness – diversity and multiplicity as well as economic development articulated in the cultural industries strategy. The research examines the discourse of cultural industries and the framing of the film industry by reviewing both cultural industries and film industry strategies and policy. The research applies Throsby’s (2010) concept of balancing between cultural and economic value in the cultural industries. The value of the film industry in South Africa is measured using indicators that mainly assess economic growth within the value chain. The important value measured emphasises the number of films produced and box office returns versus the attainment of the principles of the White Paper on Arts, Culture and Heritage (1996) as mentioned, therefore, what is neglected when we don’t measure the cultural value?

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Includes vita. Includes bibliographical references (leaves 710-758). Available also in a digital version from Dissertation Abstracts.

Thesis (M. Arch.)--University of Hong Kong, 1999. / Includes special study report entitled: Advanced cinema technology. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Spanning the nearly two decades since the Time Warner merger and the arrival of Batman in theaters, this study explains how media conglomeration affects the development of key properties by providing an extensive understanding of a film franchise. Beginning with Batman in 1989 and ending with Batman Begins in 2005, I argue that examining the Batman film franchise is one way to understand contemporary Hollywood. Through an integration of archival research, critical discourse analysis, and textual analysis, this study presents a comprehensive view of the Batman films by focusing on the development of this groundbreaking franchise, its impact on Time Warner, and what it tells us about the state of the contemporary film industry as a whole. Key issues of authorship, branding, and genre are integral aspects of the production of franchise films, and are essential themes that I discuss in this study. The story of the Batman franchise is not only about a multi-mediated property, but also a conglomerate’s attempt to define itself within the increasingly competitive entertainment industry. By following the developments with the Batman franchise, Time Warner, and the film industry since 1989, this dissertation examines the conglomerate era and the place of the franchise film within it. Thus, I argue that the Batman franchise’s arc provides the framework for understanding the changes which have occurred in the industry, particularly in regard to media conglomeration. / text

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University of Macau / Faculty of Social Sciences / Department of History

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