Thesis (M.A.)--Queensland University of Technology, 2004. / Title from PDF title page (viewed on Mar. 25, 2006). Includes bibliographical references (p. 117) and filmography (p. 118).

Thesis (MPhil)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-13T13:06:59Z No. of bitstreams: 1 Marília Abrão Rezende.pdf: 15635182 bytes, checksum: dd6d5b283854e0b868ff7662c531c98a (MD5) / Made available in DSpace on 2018-08-13T13:06:59Z (GMT). No. of bitstreams: 1 Marília Abrão Rezende.pdf: 15635182 bytes, checksum: dd6d5b283854e0b868ff7662c531c98a (MD5) Previous issue date: 2018-06-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research regards the mystery on cinema, noting and questioning its typological statute; pointing out its relationship with the following typologies: whodunit, noir, and suspense thriller; and observing the building up of mystery on screenwriting. More specifically, we pose the question: which elements, noticeable since the script, contribute to the understanding of these films as mystery films? Therefore, our corpus comprises three screenplays: Rear Window (1953), Chinatown (1973) and Memento (1999). The screenplay’s analysis is supported somewhat by the work of Jule Selbo –– researcher and screenwriter who studies genre as a tool for writing feature-films ––, and also looks for noticing (A) which situations in these scripts alludes to the mystery universe and the genres related to it; (B) which are the emotional effects provoked on the spectator by the use of genres (C) how could the genres that crosses a script be related to the film’s relevance on its time? The concept of genre adopted comes mostly from Rick Altman, who understands the generic kind in historical perspective instead of seeing it as a fixed category. Altman’s semantic-syntactic approach makes possible the observation of elements that contribute to the analysis of the screenplays mentioned above, summing up to Selbo’s approach. The bibliography also contains names as Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale –– authors that explore the genres in various directions. Beyond them, we found help on a diverse range of authors and researchers, who enriched the discussion. We believe that the relevance of this research is related to the few numbers of works in Brazil regarding the mystery’s statute, as well as to the scarce academic studies related to the practice of screenwriting / Esta pesquisa volta-se para o mistério no cinema, notando e questionando seu caráter tipológico; assinalando sua imbricação com as tipologias do whodunit, do noir e do thriller de suspense; e observando a construção do mistério na etapa de roteirização. Mais especificamente, pergunta-se: quais elementos, presentes desde a etapa do roteiro, contribuem para a apreensão desses filmes enquanto filmes de mistério? Para tanto temos um corpus composto por três roteiros fílmicos: Rear Window (Janela Indiscreta, 1953), Chinatown (Chinatown, 1973) e Memento (Amnésia, 1999). A análise dos roteiros apontados se fundamenta no trabalho de Jule Selbo –– pesquisadora e roteirista que estuda o gênero enquanto ferramenta para a escrita de roteiros longa-metragem –– e busca observar (A) quais situações nesses roteiros remetem, de forma mais imediata, ao universo do mistério e dos gêneros a ele relacionados; (B) quais as relações afetivas que são despertadas no espectador a partir dos gêneros; (C) de que forma os gêneros que perpassam tais roteiros relacionam-se à pertinência dos respectivos filmes na sua contemporaneidade. O conceito de gênero aqui adotado é o de Rick Altman, que entende as categorias genéricas em plano histórico e não como formas imutáveis. A abordagem semântico-sintática do autor possibilita o apontamento de aspectos que contribuem para a observação dos roteiros em questão, complementando a abordagem de Selbo. Os referenciais teóricos da pesquisa também envolvem outros estudiosos como Raphaëlle Moine, Thomas Schatz, David Bordwell, Edward Buscombe, Steave Neale — autores que trabalham o gênero cinematográfico em suas diferentes dimensões. Além disso, encontramos respaldo em importantes nomes da história do cinema. Acreditamos que a relevância da pesquisa liga-se à escassez, na universidade brasileira, de trabalhos relacionados ao estatuto do mistério, bem como à raridade de estudos teóricos que se relacionem à prática de roteirização

Univ., Diss.--Zürich, 2003.

No description available.

The implication of space in film is worth exploring in detail particularly with regard to the films of Alfred Hitchcock, since he is, perhaps more than any other filmmaker, concerned with the dynamics of proximity. Possibly because of his experience as a set designer on Graham Cutt’s silent films Woman to Woman (1922), The White Shadow (1923), The Passionate Adventure (1924), The Blackguard, and The Prude’s Fall (both 1925), Hitchcock very early in his career was faced with the task of expressing himself - without words - through setting, set shape, and room size. In Francois Truffaut's book, Hitchcock, the Master relates an important (since he remembers his) childhood episode in which his father arranged for the chief of police to lock him in a jail cell for five or ten minutes, admonishing that, “This is what we do to naughty boys.” Consequently, we see in Hitchcock’s films (which were all visually designed by him in the storyboard process) a persuasive aura of claustrophobia which involves a certain amount of connotes guilt and fear. As I intend to explain, this claustrophobia has far-reaching implications in five hermeneutic contexts, proving to be an important key to his moral-aesthetic universe.

Prior to 1986, there was no media studies of any type prescribed at secondary schools in the Transvaal. However, individual teachers and schools have recognised the need for children to receive instruction in the media. This saw the introduction of varying forms of informal media studies into the classroom. / Thesis (M.A.)-University of Natal, Durban.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished