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At a time of major political disruption in Italy, this dissertation aims to explore the landscape of contemporary Italian Cinema in connection with the nation’s new demographic trends and social configurations. Focusing on a selected, inherently representative group of filmmakers, the current study proposes a new form of film theory that sees the emergence and recognition of multi-ethnic filmmaking in a hitherto largely monocultural context as an indicator of a profound cultural transformation rather than a mere aesthetic tendency. The critical terminology I propose, “punctuated identitties,” document the characteristics of contemporary filmmakers, since they cannot be easily defined under the categories established by previous critical vocabularies. While these multi-ethnic filmmakers are part of a larger trend in European filmmaking as a whole, and hence constitute a case study of the evolution of a particular trend within individual national cinemas, my aim is to show how their punctuated identities complicate and color the Italian mediascape, and perhaps add a pluralistic dimension to the most recent chapter in the story of one of the most influential national cinemas. The filmmakers analyzed are selected according to specific elements and not on any categorization as first-and-second-generation immigrants. The present analysis includes two immigrants who have consciously chosen Italy as their homeland (Ferzan Özpetek and Jonas Carpignano), a migrant other who rejects nationality (Laura Halilovic), a political exile who relishes a certain sense of freedom in his Italian sojourn (Fariborz Kamkari), and a naturalized son of immigrants (Suranga Katugampala). All move in a fluid and conceptual space that creates a new path inside the traditional domain of national cinema, establishing the validity of others’s points of views and proving that coexistence can enrich even established and influential art forms. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. Vandra Masemann, Florida State University, College of Education, Dept. of Educational Leadership and Policy Studies. Title and description from dissertation home page (viewed June 15, 2004). Includes bibliographical references.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Dale R. Musser. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 94-100).

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

This dissertation focuses on a content analysis through which representation of women in Bollywood cinema is examined. Bollywood has been a major point of reference for Indian culture in the last century and will undoubtedly persist for years to come. To an extent, Bollywood has shaped the way in which people read Indian culture as well as reflecting India's events, traditions, values and customs by the mere fact that it is a pervasive and inescapable force in Indian society. Women have been and to an extent still are represented as mere wallpaper in Bollywood films. Issues around gender, gender-based violence, femininity, women's rights and sexuality (outside of being a sexpot) are often ignored and in most cases, subverted. Feminist discourse in the west has taken this up in relation to Hollywood (cf. Mulvey, 1975; Kuhn, 1984; Kaplan, 2000) however, discussions of gender in eastern cinema has yet to be fully developed. Even though there is a body of work in this field (cf. Butalia, 1984; Datta, 2000) there is room for far more in-depth investigation. This study explores the ways in which women are represented and misrepresented in Bollywood cinema by looking at the main features which make Bollywood what it is: the stock characters, song and dance routines and elaborate dress. Each of these elements is discussed by using one or two films to illustrate the formula that is used in Bollywood cinema to undermine women. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2009.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1989. / Includes bibliographical references (leaves 233-247) / Microfiche. / x, 247 leaves, bound ill. 29 cm

Based on the author's thesis (Ph. D.)--State University of New York at Binghamton, 2000. / Title from opening screen (viewed May 1, 2008). Available in: Gutenberg-e (Columbia University Press). "Gutenberg-e is a series of award-winning digital monographs in history, selected by the American Historical Association and published by Columbia University Press." Includes bibliographical references.