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?

This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic -- republicans, Catholics, Communists, and the first film avant-garde known as the Impressionists -- set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. My main focus is on how each group defined its ideal spectator, on the tensions manifested within their pedagogical projects, and on the ways in which these projects intersected. Ultimately, the history uncovered here sheds new light on key questions about cinema's impact that marked the twentieth century.

My portfolio consists of music compositions of various stylistic approaches and instrumentation. There are one music video, three film scores and nine concert works; of which multimedia works are listed first, and works are arranged according to the size of instrumentation. What connects the compositions is the evocative quality, atmospheric conception, and innovative blend of musical styles in film music that are integral to shaping my own personal style. While some compositions in this portfolio are actual film scores, others engender different atmospheres, or intend to capture different sceneries or feelings. / There are three film scores and a music video (a video will be tailor-made based on the music) in this portfolio. Depending on the nature of the films, varying types of musical languages have been used. The Boy who wears High Heels – a film based on a sensitive subject but turns out to be a touching story - is accompanied by music of elegance. Lyrical solo piano pieces, mostly in simple triple meter, are used to capture the inner voices of the characters in a short story about family in The Waltz. Static, atmospheric music with a focus on timbral differences is used to accompany Mong Kok II Purple — an almost surreal film that highlights the character’s emotional conflict. The music of Cinderella and the Happy Prince is inspired by the English romantic musicals. / While my film music centers on fitting music to the moving image, my concert music focuses on creating musical content from perspectives inspired by the film-scoring process. While both Stress and the City and The Light above the Leaves are written in an abstract Western musical language, the remaining compositions of this portfolio are highly influenced by ethnic music. In A Yearning for Peace and A Call in the Wilds, I have attempted to imitate the singing styles, as well as the timbre, phrasing, and playing techniques of various ethnic instruments on standard Western instruments, and within a Western contemporary musical environment. In Clouds in Twilight, Lament from the Forest II, Lost in the Desert, The White Wall and Whirling through the Dreams, many characteristics of ethnic music, Western traditional and contemporary music are so tightly integrated that it would be impossible to single each one out. / Through writing in different musical languages and for a variety of mediums, I have allowed myself to explore numerous compositional possibilities — such experiences have enabled me to challenge the existing instrumental writing techniques, phrase construction, and textural design among many other parameters. / 我的音樂作品集涵蓋了多種不同音樂風格及配器的作品，它們很大程度上受到電影音樂的影響，包括其以聲音製造氣氛、情景的手法及把不同類型的音樂風格相融合的創新嘗試。我的作品集包括了電影配樂和其他以音樂帶出氛圍、情景及感情的作品，它們揉合了不同類型的音樂元素 —如民族音樂、西方古典音樂 — 以表達樂曲不同的內容。 / 本作品集有三部電影配樂作品和一部音樂影片。我隨每一部影片的獨特本質選用了不同的音樂風格： 我以典雅為基調烘托題材敏感但卻感人至深的《穿高跟鞋的男生》；《圓舞曲》則主要以抒情的鋼琴獨奏表達角色的內心世界；而徘徊於寫實與虛幻的《旺角太紫》則以靜態、以音色變化為主的音樂烘托角色的內心掙扎。音樂影片《灰姑娘與快樂王子》的音樂則受到英國浪漫音樂劇的風格影響。 / 除了以上配合影片的音樂，作品集亦包括純音樂的作品。《壓力都市》和《綠蔭上的曙光》以較為抽象的當代西方音樂語言寫成，而其餘的作品則受到民族音樂影響而創作。我在《禱》和《野地的呼喚》中試圖以西方樂器模仿不同民族中聲樂、不同器樂的音色、句式和演奏技巧，並以當代西方音樂的思維加以處理。而在《暮雲》、《林裡的哀歌II》、《迷失曠野》、《白壁》和《夢行雲》中，西方古典音樂、當代西方音樂和民族音樂三者的音樂特色融而為一，密不可分。 / 我已透過不同風格的創作，挑戰了一貫的器樂寫作技巧、句式架構、織體設計等來探索作曲的無限可能性。 / Wong, Chun Wai. / Thesis D.Mus. Chinese University of Hong Kong 2015. / Abstracts also in Chinese; includes Chinese. / Title from PDF title page (viewed on 06, October, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.

No description available.

Thesis (Ph. D.)--University of Waikato, 2006. / Title from PDF title page (viewed on Apr. 15, 2007). Includes filmography (p. 369-385) and bibliographical references (p. 386-420).

Thesis (Ph.D.)--The University of Wisconsin-Madison, 2003. / Supervisor: David Bordwell. Includes bibliographical references.

The collapse of the video window is disrupting the economic framework between exhibitors and distributors in the film industry. This study analyzes the collapse from several angles and provides a detailed description as to why the collapse has, and will continue to be, disruptive. I first examine the impact various technologies have had on the collapse of the video window – the time between a motion picture’s theatrical release and video release – during 1997 – 2012. The average video window has declined from 5 months 22days in 1997 to 3 months 29 days in 2012. Differences of means tests were used to inspect the average video window at the time of each technology’s introduction. Then in order to reveal how the length of the video window affects box office profit, I use an ordinary least squares regression to examine the determinants of gross domestic box office profit for a sample of 294 top earning U.S. films during 1999-2012.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in / Typescript. Includes bibliographical references (leaves Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29638

Thesis (M.A. in communication)--Washington State University, December 2009. / Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).