published_or_final_version / abstract / Humanities / Master / Master of Philosophy

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Thesis (M.M. (Public Policy))--University of the Witwatersrand, Faculty of Commerce, Law and Management, Graduate School of Public and Development Management, 2013. / The study aimed to understand and analyse the ways in which the NFVF as the institution mandated by government to implement its vision for the film industry, interpreted and executed this mandate in its inception years. Using a combination of top-down and bottom-up approaches to policy implementation, this study applied the 5-C protocol developed by Brynard and de Coning (2006) to analyse film policy. The study assesses the process of implementation and the key factors that shaped how the NFVF carried out its policy mandate between 2000 and 2005 largely from the perspective of ‘street-level bureaucrats’ who were the main policy implementation officials. Implementation scholars suggest that in order to understand policy, one is required to follow its journey as it moves through the implementation process, changing its environment, and in turn being influenced by the environment within which it is located. The study’s findings are discussed under various themes that emerged from the interviews and document review. The focus is on the NFVF’s policy content and implications this had on the clarity of its role and mandate. The themes that emerged from the discussion on the NFVF’s policy context indicated that the governance and institutional arrangements for implementation as well as the lack of policy coherence and co-ordination contributed to a difficult operating and implementation environment. Under policy commitment, the discussion pointed to the NFVF’s leadership and institutional style between 2000-2005. The NFVF’s capacity to implement policy was analysed in terms of its available financial resources. Finally, the last section of the study considers the NFVF’s policy clients and coalitions and how they responded to the NFVF‘s implementation of policy.

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Orientador: Maria de Lourdes Ortiz Gandini Baldan / Banca: Sylvia Helena Telarolli / Banca: Leonardo Francisco Soares / Resumo: O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência / Abstract: The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after / Mestre

This PhD explores questions of cinematic affect and its relationship to mimetic experience. Through an examination of cinematic materiality, it argues that film must be inscribed across the sensorium if it is to arouse affective experience for the spectator. Drawing on Miriam Hansen’s readings of Walter Benjamin and Siegfried Kracauer, the thesis argues that cinematic affect can most productively be understood in film as a process of mimetic innervation. The thesis is comprised of seven published essays and an overarching chapter. The introductory chapter, ‘A Paradigm Shift in Film Studies’, situates the published essays in the context of recent debates about embodied spectatorship and affect, arguing the need for a revision of key paradigms of film theory. The first series of essays argues the centrality of embodied affect to cinema spectatorship, and proposes a nexus between mimetic visuality, affect and mise-en- scène, linking the analysis of mise-en-scène to Kracauer’s discussions of cinematic materiality. The essays extend this nexus to rethink genre through the lens of affective mimetic experience, arguing that both genre and visual style work mimetically. The arguments are explored through studies of the work of Mizoguchi Kenji, Theodorus Angelopoulos and Lee Myung-Se. The second series examines spectatorship in documentary cinema, raising questions about historiography, embodied knowledge, inter-cultural dialogue, and the affective elements of cultural specificity. The essays interrogate the universalist claims of conventional documentary form, and its assumptions of a disembodied spectator. They contest the assumed opposition in documentary theory between affect and signification and draw affect and mimetic experience into the core conceptualisation of documentary film. The studies explore an Australian television documentary series, an Indonesian political docudrama and three hybrid documentaries—two Indian and one French. Through these studies, the thesis argues that affective embodied mimetic experience is at the core of cinema spectatorship. / Doctor of Philosophy (PhD)

This dissertation explores screenwriting as a writing genre. Accompanying the dissertation, in a separate binding, is my feature film screenplay, Jungles of Sandakan, a spec script, written with the speculation of selling for production. The screenplay represents an experience of writing. From the writer’s position, the dissertation articulates a feminine voice, reflective of the writer who experiences the writing of the feature film script, rather than being an exposé on gender, or feminist-specific issues regarding the experience. As such, it is one kind of research. Nonetheless, the research attempts to explore the complexities of writing in relation to the problems that exist in the film world that prevent, or annihilate, and yet enable and require, the very experience of writing. Screenplays are the lifeblood of the picture business, writes Paul Lazarus, in Working In Film; The Marketplace in the ‘90s. Lazarus, a film producer and observer of the American film industry, paints the script as the endemic life force of the film business. Without the script, it is implied, there is no film production. This gives an impression of privilege in relation to the script, and writing. In the grand scheme of things in the picture business though, this is not the case, as anxieties about the script often render writing inconsequential in the context of film production, thus reducing the script’s privilege and placing its significance in uncertain terrain, quite often to the point of oblivion. The writer is often voiceless, and often expected, or required, by the production hierarchy, to remain impartial to her work, or relinquish ownership of her work altogether. For an industry that seemingly depends initially on writing for its own existence, the anxieties displayed towards the script, even though it is merely the blueprint of a film production, as well as the writer, appear very problematic The fiction/drama screenplay, as a storytelling device, has fundamental significance pertaining to history, national identity, issues of gender, sexuality, race relations, social, cultural and political dynamics, views and representations of self and of other(s), ethnicity, religion, multiculturalism and so on, a plethora of issues that inform the writing, the script, as represented by characters, and story. / Doctor of Creative Arts

What is unique to the experience of cinema that has ensured its ongoing popularity across generations of filmgoers? As both a theoretical construct and a real world practice, cinematic experience is necessarily implicated in systems of social and cultural stratification, and thus subject to the drive for symbolic distinction amongst classes. As such, practical logics grounded in specific cultural arbitraries hinder illumination of the complexities of film going, perpetuating epistemological errors based in social ignorance and therefore denying a new understanding of cinematic experience in its embodied state. By uncovering the key theoretical and methodological fallacies informing scholastic knowledge production within the discipline of film studies, the sociological program of Pierre Bourdieu allows for the systematic mapping of cinematic experience as an economy of exchange � an economy engaging specialised categories of patron recognition and appreciation in order to offer an experience of recognised social value. Whilst subject to a range of both theoretical and methodological criticisms, ultimately the deficiencies of Bourdieu�s program are outweighed by the benefits of reflexive sociology in developing the autonomy of the field of film studies, allowing for future film study fully cognizant of the mechanisms of symbolic violence and thus academic knowledge production more attentive to the destructive logic of the open market.

In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in which this desire was manifested was in the establishment of the New Zealand Film Commission (NZFC). This government sponsored body corporate was designed to provide an infrastructure for New Zealand filmmaking, through which New Zealand and New Zealanders could be represented. As a result, New Zealand filmmaking boomed during the early to mid-1980s. Significantly, this boom occurred simultaneous to the increasing relevance and importance of notions of biculturalism, both in cultural and socio-political terms. The question that drives this thesis is how (or whether) biculturalism was articulated in the explicit or implicit relationships between cultural debates, governmental policies, the NZFC�s own policies and practices and its interaction with filmmakers. This thesis examines the ways in which aspects of the discourse of biculturalism feature in New Zealand cinema of the 1980s in terms of the content, development, production and marketing of three films of this era that share particular bicultural themes and elements: Utu (Geoff Murphy, 1983), The Quiet Earth (Geoff Murphy, 1985) and Arriving Tuesday (Richard Riddiford, 1986). This thesis also examines the role of the NZFC in these processes as prescribed by legislation and in terms of the NZFC�s own policies and procedures. This thesis consults a variety of primary and secondary sources in its research. Primary sources include film texts, public documents, archival material, trade journals, and interviews with important figures in the New Zealand film industry. Conclusions suggest that the interaction of numerous socio-historical factors, and the practices and policies of the NZFC, denote a process that was not direct in its articulation of notions of biculturalism. Rather, this involved an array of complex cultural, fiscal. industrial, professional and aesthetic forces.

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.